a49568c001cfa6403a22f0138c5668d8b211c9e8
movie
http://www.imsdb.com/scripts/Django-Unchained.html
DJANGO UNCHAINED Written
her Dragons .
 In 1858 Texas, the Speck brothers, Ace and Dicky, drive a group of black slaves on foot. Among the shackled slaves is Django (Jamie Foxx), sold off and separated from his wife, Broomhilda von Shaft (Kerry Washington). The Speck brothers are stopped by Dr. King Schultz (Christoph Waltz), a German dentist-turned-bounty hunter from D端sseldorf, who asks to buy one of the slaves. He questions Django about his knowledge of the Brittle brothers, a group of outlaws for whom Schultz is carrying a warrant. Schultz, a superior gunslinger, immediately kills Ace with a Fast draw. King insists on honorably paying Dicky a fair price for Django before leaving him at the mercy of the newly-freed slaves, who kill him and follow the North Star to freedom. As Django can identify the Brittle brothers, Schultz offers him his freedom in exchange for help tracking them down. After tracking and killing the Brittles, the liberated Django partners with Schultz through the winter and becomes his apprentice. Schultz explains that he feels responsible for Django since Django is the first person he has ever freed, and felt morally obliged to help Django reunite with Broomhilda. Now fully trained, Django collects his first bounty, keeping the handbill for good luck.
In 1859, Django and Schultz travel to Mississippi, where they learn the identity of Broomhilda's owner: Calvin J. Candie (Leonardo DiCaprio), the charming but cruel owner of the Candyland plantation, where slaves are forced to fight to the death in brutal wrestling matches called Mandingo fights. Schultz and Django meet Candie at his gentleman's club in Greenville and submit their offer to buy one of his best fighters. Intrigued, Candie invites them to his ranch at Candyland. After secretly briefing the German-speaking Broomhilda, Schultz claims to be charmed by her and offers to buy her as well. During dinner, Candie's staunchly loyal house slave Stephen (Samuel L. Jackson) becomes suspicious of Schultz and Django's motives. Deducing that Django and Broomhilda know each other and that the sale of the Mandingo fighter is a ruse, Stephen alerts Candie and admonishes him for his greed. Candie offers an alteration of the original deal, with Broomhilda taking the Mandingo fighter's place at the same price, and threatens her death should the deal be rejected. Schultz agrees, and the papers for her freedom are drawn up and signed. Candie smugly insists that the deal be sealed through a handshake, which Schultz initially refuses. When Candie threatens again to kill Broomhilda, Schultz snaps and kills Candie with a concealed derringer. Candie's bodyguard Butch Pooch kills Schultz and Django kills him in turn, and an extensive gunfight begins. Django guns down a great number of his opponents, but surrenders when Broomhilda is taken hostage.
The next morning, Stephen tells Django that he will be sold to a mine and worked to death. En route to the mine, Django proves to his escorts that he is a bounty hunter by showing them the handbill that Schultz said was good luck from his first kill. He convinces them that there is a large bounty for criminals hiding at Candyland, and promises that they would receive the majority of the money if they free him. The escorts release him and give him a pistol, which he uses to kill them before stealing a horse and returning to Candyland with a bag of dynamite.
At the plantation, Django kills more of Candie's henchmen, takes Broomhilda's freedom papers from the dead Schultz's pocket, bids goodbye to his late friend and frees his wife from a nearby cabin. When Candie's mourners return from his burial, Django kills the remaining henchmen and Candie's sister Lara Lee Candie-Fitzwilly, releases the two remaining house slaves, and kneecaps Stephen. Django then ignites the dynamite that he has planted throughout the mansion, and he and Broomhilda watch from a distance as the mansion explodes with the incapacitated Stephen inside, before riding off together.
In 1858 Texas , the Speck brothers , Ace and Dicky , drive a group of black slaves on foot . Among the shackled slaves is Django ( Jamie Foxx ) , sold off and separated from his wife , Broomhilda von Shaft ( Kerry Washington ) . The Speck brothers are stopped by Dr. King Schultz ( Christoph Waltz ) , a German dentist-turned-bounty hunter from D端sseldorf , who asks to buy one of the slaves . He questions Django about his knowledge of the Brittle brothers , a group of outlaws for whom Schultz is carrying a warrant . Schultz , a superior gunslinger , immediately kills Ace with a Fast draw . King insists on honorably paying Dicky a fair price for Django before leaving him at the mercy of the newly-freed slaves , who kill him and follow the North Star to freedom . As Django can identify the Brittle brothers , Schultz offers him his freedom in exchange for help tracking them down . After tracking and killing the Brittles , the liberated Django partners with Schultz through the winter and becomes his apprentice . Schultz explains that he feels responsible for Django since Django is the first person he has ever freed , and felt morally obliged to help Django reunite with Broomhilda . Now fully trained , Django collects his first bounty , keeping the handbill for good luck . In 1859 , Django and Schultz travel to Mississippi , where they learn the identity of Broomhilda s owner : Calvin J. Candie ( Leonardo DiCaprio ) , the charming but cruel owner of the Candyland plantation , where slaves are forced to fight to the death in brutal wrestling matches called Mandingo fights . Schultz and Django meet Candie at his gentleman s club in Greenville and submit their offer to buy one of his best fighters . Intrigued , Candie invites them to his ranch at Candyland . After secretly briefing the German-speaking Broomhilda , Schultz claims to be charmed by her and offers to buy her as well . During dinner , Candie s staunchly loyal house slave Stephen ( Samuel L. Jackson ) becomes suspicious of Schultz and Django s motives . Deducing that Django and Broomhilda know each other and that the sale of the Mandingo fighter is a ruse , Stephen alerts Candie and admonishes him for his greed . Candie offers an alteration of the original deal , with Broomhilda taking the Mandingo fighter s place at the same price , and threatens her death should the deal be rejected . Schultz agrees , and the papers for her freedom are drawn up and signed . Candie smugly insists that the deal be sealed through a handshake , which Schultz initially refuses . When Candie threatens again to kill Broomhilda , Schultz snaps and kills Candie with a concealed derringer . Candie s bodyguard Butch Pooch kills Schultz and Django kills him in turn , and an extensive gunfight begins . Django guns down a great number of his opponents , but surrenders when Broomhilda is taken hostage . The next morning , Stephen tells Django that he will be sold to a mine and worked to death . En route to the mine , Django proves to his escorts that he is a bounty hunter by showing them the handbill that Schultz said was good luck from his first kill . He convinces them that there is a large bounty for criminals hiding at Candyland , and promises that they would receive the majority of the money if they free him . The escorts release him and give him a pistol , which he uses to kill them before stealing a horse and returning to Candyland with a bag of dynamite . At the plantation , Django kills more of Candie s henchmen , takes Broomhilda s freedom papers from the dead Schultz s pocket , bids goodbye to his late friend and frees his wife from a nearby cabin . When Candie s mourners return from his burial , Django kills the remaining henchmen and Candie s sister Lara Lee Candie-Fitzwilly , releases the two remaining house slaves , and kneecaps Stephen . Django then ignites the dynamite that he has planted throughout the mansion , and he and Broomhilda watch from a distance as the mansion explodes with the incapacitated Stephen inside , before riding off together .
http://en.wikipedia.org/wiki/Django_Unchained
Django Unchained
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<b>                                      DJANGO UNCHAINED
</b>


                                         Written by

                                     Quentin Tarantino

                         

                         

<b>                         I
</b>
<b>          EXT - COUNTRYSIDE - BROILING HOT DAY
</b>
          As the film's OPENING CREDIT SEQUENCE plays, complete with its own
          SPAGHETTI WESTERN THEME SONG, we see SEVEN shirtless and shoeless
          BLACK MALE SLAVES connected together with LEG IRONS, being run,
          by TWO: WHITE MALE HILLBILLIES on HORSEBACK.

          The location is somewhere in Texas. The Black Men (ROY, BIG SID,
          BENJAMIN, DJANGO, PUDGY RALPH, FRANKLYN, and BLUEBERRY) are slaves just
          recently purchased at The Greenville Slave Auction in Greenville
          Mississippi. The White Hillbillies are two Slave Traders called,
          The SPECK BROTHERS (ACE and DICKY).

          One of the seven slaves is our hero DJANGO... . he's fourth in the leg
          iron line. We may or may not notice a tiny small "r" burned into his
          cheek ("r" for runaway), but we can't help but notice his back which
          has been SLASHED TO RIBBONS by Bull Whip Beatings.

          As the Operatic Opening Theme Song plays, we see a MONTAGE of misery
          and pain, as Django and the Other Men are walked through blistering
          sun, pounding rain, and moved along by the end of a whip. Bare feet
          step on hard rock, and slosh through mud puddles. Leg Irons take the
          skin off ankles.

          AS The CREDITS play, DJANGO has a SPAGHETTI WESTERN FLASHBACK.
          Now Spaghetti Western Flashbacks are never pretty, it's usually the
          time in the film when the lead character thinks back to the most
          painful memory inflicted on him or his loved ones from evil characters
          from his past. In this instance we see Django in a SLAVE PEN at the
          Greenville Auction.

<b>                         DJANGO
</b>          Amongst many other shoulders and heads, sees through the bars of the
          cell door, his wife BROOMHILDA being led to the auction block.

          He fights his way to the door, and far off and obscure in the distance,
          he can see Broomhilda up on the auction block, and in the distance he
          hears the Auctioneer yell; "Sold." Then she's taken away to whereabouts
          unknown, never to be seen again.

          As the sun continues to beat down on Django's head, he remembers;

          DJANGO in the SLAVE PEN
          with what seems like a one hundred and fifty Slaves in a cell designed
          for forty.

          WHITE MEN yank him out. of the cell, shirtless, shoeless, and lead him
          down a hallway, into a giant round pen, an audience viewing area
          circles the round pen floor on three different stories of the
          structure.

          The ground floor is covered by the BIG MONEY BUYERS who stand in front
          of the auction block.

                         

                         

                         

                         

<b>                         2
</b>
<b>                         DJANGO
</b>          is moved into a line of SLAVES (The Black Men), and their MASTERS
          (their White Owners), and their SELLERS (the White Man actually doing
          the sales pitch on the auction block), as they wait for their turn on
          the block.
          A SLAVE (ROBBIE), stand on the auction block in view of the room full
          of Buyers, The SELLER sells, and the OWNERS stand off to the side.

<b>                         DJANGO
</b>          takes in the environment around him. Django has never cared for white
          folks, but these white folks are in particularly ugly.

          It's DJANGO's turn ON THE AUCTION BLOCK
          as the THEME SONG wails its tragic crescendo, Django is brought up on
          the auction block. He.looks down at all the WHITE PEOPLE who want to
          buy Niggers, who look up to him.
          His heart fills with poison.

<b>          BACK TO DJANGO
</b>          walking in Leg Irons with his six Other Companions, walking across the
          blistering Texas panhandle... .remembering.. .thinking. - .hating.

<b>          THE OPENING CREDIT SEQUENCE
</b>          end.


<b>          /--" EXT - WOODS -- NIGHT
</b>
          It's night time and The Speck Brothers, astride HORSES, keep pushing
          their black skinned cargo forward.
          It's a very pitch black night, with only a few stars in the.sky to
          create a little top light. It's so dark, the Slavers use the creek.bed
          to keep from getting lost. Both Speck Brothers carry a lantern up on
          their horse, as. does Roy, the Slave in lead position on the chain gang.
          It's also a bitterly cold night, with the breath of the seven slaves,
          two slavers, and two horses creating clouds in the air. In fact the
          seven chained together Slaves, with the lead one holding a lantern, and
          all of them chugging out smoky breath, and. slightly moving in unison,
          resemble a human locomotive.
          The Slaves shiver from the cold on their shirtless backs, both Speck
          Brothers wear rawhide winter coats with white fur linings, and white
          fur collars.

<b>          WHEN...
</b>          .A SOUND and a SMALL LIGHT appears ahead of them on the road. This
          makes the Slave Traders stop their human live stock, and ready their
          rifles for possible trouble.

                         

                         

                         

                         

<b>                         3
</b>
<b>          A BLACK HORSE
</b>          carrying a dressed in grey Rider, CLIP-CLOPS from the background to the
          foreground, illuminated by a glowing lantern that the Rider carries.

<b>                         THE RIDER
</b>          appears to be a tenderfoot, due to his style of dress. A long grey
          winter'coat, over a grey three piece business suit, and a grey bowler
          hat on his head.

<b>                         DICKY SPECK
</b>          Who's that stumblin around in the dark?
          State your business, or prepare to get
          winged!

<b>                         THE RIDER
</b>          Calm yourselves gentlemen, I mean you no
          harm. I'm simply a fellow weary traveler.
          The Rider dressed in business grey pulls his horse to a stop in front
          of the two Slavers, and their Slaves, lifting the lantern up to his
          face. He speaks with a slight German accent.

<b>                         THE RIDER
</b>          (to the Slavers)
          Good cold evening gentlemen.
          (to the shivering Slaves)
          Good evening-I'm looking for a pair of
          slave traders that go by the'name of
          The Speck Brothers. Might that be you?

<b>                         ACE SPECK
</b>          Who wants to. know?

<b>                         THE RIDER
</b>          I do. I'm Dr. King Schultz, and this
          is my horse, Fritz.
          Fritz, does a little bow with his head, a neat trick the doctor taught
          him.

<b>                         DICKY SPECK
</b>          You a doctor?
          Dr.SCHULTZ
          Affirmative.

<b>                         DICKY SPECK
</b>          What kinda doctor?
          Dr.SCHULTZ
          Dentist. Are you The Speck Brothers, and did you
          purchase those men at The Greenville.Slave Auction?

<b>                         ACE SPECK
</b>          So what?

                         

                         

                         

                         

<b>                         LE
</b>          Dr.SCHULTZ
          So, I wish to parley with you.

<b>                         ACE SPECK
</b>          Speak English!
          Dr.SCHULTZ
          Oh, I'm sorry. Please forgive me, it is a
          second language. Amongst your inventory,
          I've been led to believe, is a specimen
          I'm keen to acquire.
          (to the slaves)
          Hello you poor devils. Is there one among
          you, who was formerly a resident of
          The Carrucan Plantation?
          Since Roy in lead position is the one holding the lantern, the second
          half of the slave centipede falls off into darkness. In the darkness a
          VOICE rings out;

<b>          DJANGO'S VOICE (OS)
</b>          I'm from The Carrucan Plantation.
          Dr.Schultz moves Fritz forward towards the darkness, raises his
          lantern, illuminating our hero Django.
          Dr.SCHULTZ
          Splendid! And what's your name young, man?

<b>                         DJANGO
</b>          Django.
          Dr.SCHULTZ
          Wunderbar! You're exactly the one I'm looking
          for. So tell me Django - by the way that's a
          amazing name - during your time at the
          Carrucan Plantation, did you come to know
          three overseers by the name of The Brittle
          Brothers?
          Django nods his head, yes.
          Dr.Schultz is delighted.
          Dr.SCHULTZ
          Big John, Ellis, and little brother Raj?

<b>                         DJANGO
</b>          Dem da Brittle Brothers.
          Dr.SCHULTZ
          So Django, do you think you could recognize -
          ï¿½. The Speck Brothers have been watching this tenderfoot engage their
          Slave in polite conversation.. .with a touch of disbelief.

                         

                         

                         

                         

<b>                         ACE SPECK
</b>          Hey, stop talkin' to him like that!
          Dr.SCHULTZ
          Like what?

<b>                         ACE SPEC
</b>          Like that!
          Dr.SCHULTZ
          My good man, I'm simply trying to ascertain

<b>                         ACE SPECK
</b>          Speak English, goddamit!
          Dr.SCHULTZ
          Everybody calm down! I'm simply a customer
          trying to conduct a transaction.

<b>                         ACE SPECK
</b>          I don't care, no sale. Now off wit ya!
          Dr.SCHULTZ
          Don't be ridiculous, of course they're for
          sale.
          Ace raises his rifle towards the German.

<b>                         ACE SPECK
</b>          Move it!
          Ace cocks back the rifle hammer.
          Dr.SCHULTZ
          My good man, did you simply get carried away
          with your dramatic gesture, or are you
          pointing that weapon at me with lethal
          intention...?

<b>                         ACE SPECK
</b>          Last chance, fancy pants
          Dr.SCHULTZ
          - Very well -
           The doctor, throws his lantern to the ground, enveloping him in
          darkness.
          The next FLASH OF LIGHT we see is the good doctors PISTOL out of his
          holster, and FIRING point blank into Ace Specks face...
          .BLOWING the dumber dumb brother off his horse, dead in the dirt.

                         

                         

                         

                         
          Before Dicky can maneuver either his rifle or his horse in the Germans
          direction...

<b>          BAM...
</b>          Dr.SCHULTZ SHOOTS his HORSE in the head...
          .The Steed goes down taking Dicky with him...
          When the dead weight horse lands on Dicky's slightly twisted leg, we
          hear TWO DISTINCT CRACKING SOUNDS.:..
          Dicky lets out a bitch like scream.
          The Slaves watch all this. They've never seen a white man kill another
          white man before.
          Dicky is pinned down under his ole paint.
          Django watches in the dark, the German climb down off his horse,
          pick up Ace's discarded lantern, and walk over to the remaining Speck.
          Dr.SCHULTZ
          Sorry about putting a bullet in your beast.
          But I didn't want you to do anything rash
          before you had a moment to come to your senses.
          Dr.Sch.ultz LIGHTS the lantern, illuminating himself, as he stands over
          Dicky's body.

<b>                         DICKY SPECK
</b>          You goddamn son of a bitch, you killed Ace!
          Dr.SCHULTZ.
          I only shot your brother, once he threatened
          to shoot me. And I do believe I have ...

<b>                         (COUNTING OUT
</b>
<b>                         THE SLAVES)
</b>          .one, two, three, four, five, six,
          seven witnesses who can attest to that fact.

<b>                         DICKY SPECK
</b>          My damn legs busted!
          Dr.SCHULTZ
          No doubt. Now, if you can keep your
          caterwauling down to a minimum, I'd like
          to finish my line of inquiry with young Django.

<b>                         (TO DJANGO)
</b>          As I was saying, if you were to see
          the Brittle Brothers again, would you
          recognize them?

<b>                         DJANGO
</b>          Yes.

                         

                         

                         

                         
          Dr.SCHULTZ
          Now I'm sure. to you, all unshaven white men
          look alike. So Django, in a crowd of
          unshaven white men, can you honestly
          and positively point out The Brittle Brothers?

<b>          DJANGO SPAGHETTI WESTERN FLASHBACK
</b>          We're in his little shack at the Carrucan Plantation. It's PISSING RAIN
          outside. Django is making love to his wife Broomhilda, when she stops
          letting out a shout. The three overseers known as THE BRITTLE BROTHERS
          are outside peeking in through the window. They BURST in through the
          front door. Soaked to the bone, they rodeo bull their way into the
          shack, and make the two slaves continue fucking for their amusement.
          As Django and Broomhilda are forced to copulate, they run their wet
          white hands down her chocolate leg.. .they fondle his ass.. .they squeeze
          her tit. . .they bring a belt across Django's backside to make him fuck
          faster. . .then they yank him off, as BIG JOHN climbs on top of
          Broomhilda..the other Brittle brothers whip Django with their belts,
          and make him sit in the corner, while they finish with his wife.

<b>          BACK TO DJANGO
</b>
<b>                         DJANGO
</b>          I can point 'em out.
          Dr.SCHULTZ
          Sold American! So Mr.Speck, how much for
          Django?

<b>                         DICKY SPECK
</b>          I'm gonna lose this leg!
          Dr.SCHULTZ
          Yes, unless you find a talented physician
          very quickly, I'm afraid that will be the.
          end result. But back to business, how much
          do you want for Django?

<b>                         DICKY SPECK
</b>          You go to hell!
          Dr.SCHULTZ
          Don't be silly. How much for Django?

<b>                         DICKY SPECK
</b>          800 dollars!
          Dr.SCHULTZ
          Oh come now, I may not have the experience in
          the slave trade that you and your family does,
          but neither was I born yesterday.

                         

                         

                         

                         

<b>                         8
</b>          The. good doctor removes a pamphlet from his grey suit coat pocket.
          Dr.SCHULTZ
          In this most helpful pamphlet that I picked
          up at The Greenville Slave Auction, it says
          that the going rate for African flesh'
          - in particularly a field nigger -_is sixty
          to eighty dollars. Now handsome no doubt as
          Django is, technically, he is a field. nigger.
          Which according to"this pamphlet here - and
          why would they lie - puts his price at
          eighty dollars. So in light of that, how
          bout a hundred and twenty five dollars for
          young Django here.
          Dr.Schultz removes his long billfold from his pocket, and takes out a
          one hundred dollar bill, two tens and a fiver.
          Dr.SCHULTZ
          And since your late brother. won't be using
          it anymore, I'd like to purchase his nag.
          He removes a twenty dollar gold piece from his. pocket, and tosses it on
          Dicky's body. He bends down and, puts the paper money-.in the saddle bags
          on Dicky's dead horse. With.his hands in there, he roots around and
          finds the keys to-the leg irons. He unlocks Django's leg irons.
          Django is free.
          Dr.SCHULTZ
          There you go Django,. Give your ankles a good
          rubbing, then get up on that horse.
          Also, if I was you, I'd take that winter
          coat the dear departed Speck left behind.
          Django removes the coat from the dead slaver. Puts on the warm jacket
          over his bare back, and climbs up on Ace Specks horse.
          Dr.Schultz turns to Dicky on the ground.
          Dr.SCHULTZ
          Mr.Speck, I am afraid I will require a
          bill of sale. Do you have one?
          Dicky just curses him.
          He says, removing a notebook from his pocket;
          Dr.SCHULTZ
          I thought not. No worries, I come prepared.
          (as he writes)
          This will serve nicely as a bill of sale.
          (he stops, then
          says to Django)
          Django is spelled with a silent "D",
          is it not?

                         

                         

                         

                         

<b>                         9
</b>
<b>                         DJANGO
</b>          Huh?
          Dr.SCHULTZ
          Why not..
          He writes it in his book with a silent "D", then stops to admire the
          way it looks.
          Dr.SCHULTZ
          Yes, that does add a little character.
          The German dentist lowers himself by the Speck brother pinned down
          under his horse, and hands him the notebook and pen.
          Dr.SCHULTZ
          If you'd be so kind Speck, as to make your
          mark here.
          The. Hillbilly spits in the German gentleman's face. The good doctor
          wipes his face with a handkerchief. Then takes out a pocket knife.
          And whispers something that can't be heard in the slavers ear.
          He signs the bill of sale.
          Dr.SCHULTZ
          Mr.Speck, I would like to say it was a
          pleasure doing business with you, but your
          customer service leaves a lot to be desired.
          The good doctor climbs back up on Fritz, and looks to the six Slaves, in
          leg irons.
          Dr.SCHULTZ
          Now as to you poor devils.
          He tosses to Pudgy Ralph the keys to the shackles.
          Dr.SCHULTZ
          So as I.see it, when it comes to the subject
          of what to do next, you gentlemen have two
          choices. One, once I'm gone, you lift that
          beast off the remaining Speck, then carry him
          to the nearest town. Which would be at least
          thirty-seven miles back the way you came.
          Or ...
          .Two, you unshackle yourselves, take that
          rifle over there. . .put a bullet in his head,
          bury the two of them deep, and make your way
          to a more enlightened area of the country.
          The choice is yours.
          He's just about ready to ride off, when the good doctor adds;

                         

                         

                         

                         

<b>                         0
</b>          Dr.SCHULTZ
          Oh, and on the off chance that there's
          any astronomy aficionados amongst you,
          the North Star is THAT ONE. Tata.
          He looks to Django, who doesn't know how to start his horse.
          Dr.SCHULTZ
          Just give him a little kick.
          Django does, and the horse responds by moving.
          Dr.SCHULTZ
          See, it's not so difficult.

<b>          EXT - MORNING TEXAS LANDSCAPE - SUNRISE
</b>          The DAWN BREAKS on a western landscape. The two men ride their horses
          silently, horse hooves CLIP-CLOPPING among the rocks. Django wears
          Specks winter coat, with one of Dr.Schultz's white button down dress
          shirts underneath it. As they ride through the picturesque scene...
          Dr.Schultz breaks the silence.
          Dr.SCHULTZ
          So, Django, what do you intend to name him?

<b>                         DJANGO
</b>          Who?
          Dr.SCHULTZ
          Your horse?

<b>                         DJANGO
</b>          What horse?
          Dr.SCHULTZ'
          The horse you're riding.

<b>                         DJANGO
</b>          This ain't my horse.
          Dr.SCHULTZ
          Yes it is.

<b>                         DJANGO
</b>          No it ain't, it's your horse. I'm just riding
          it.
          Dr.SCHULTZ
          Well, technically, yes - Wait a minute -
          technically not. If it's my horse, I can
          give it to you, and as of now, I'm doing such.
          Django, you're now the proud owner of a horse,
          congratulations.

                         

                         

                         

                         

<b>                         /1
</b>
<b>                         DJANGO
</b>          I can't feed no horse. I can't put no horse
          up in no stable.
          Dr.SCHULTZ

<b>                         (FRUSTRATED)
</b>          Don't worry about all that!
          They ride a bit longer in silence.. .the good doctor composes himself...
          then says with a smile;
          Dr.SCHULTZ
          So... . now that that's settled... . what do you
          intend to name it? Half the fun of having
          a horse is choosing his name. For instance
          my steed is named Fritz. He's stubborn,
          ornery, and prone to a bad disposition, but I
          couldn't do without him.
          (he pats Fritz's neck)
          Anyway, the name of one's steed, isn't
          something one does lightly. So once you've
          thought about it for awhile -

<b>                         DJANGO
</b>          - Tony.
          Dr.SCHULTZ
          - Tony what?

<b>                         DJANGO
</b>          - I dunno, Tony the horse.
          Dr.SCHULTZ
          Oh, you mean you want to name your horse
          Tony?

<b>                         DJANGO
</b>          Yeah. That's what you jus' asked me, right?
          Dr.SCHULTZ
          When you're right you're right, indeed I did.
          Why Tony?

<b>                         DJANGO
</b>          I gotta tell ya? You didn't tell me I gotta
          tell ya.
          As they continue to converse, they start heading downhill toward a
          western town. They pass by a sign that says; "WELCOME TO DAUGHTREY,

<b>                         TEXAS"
</b>
                         

                         

                         

                         

<b>                         /Z
</b>          Dr.SCHULTZ
          Well I'm naturally curious, of course, but
          there's no reason you MUST tell me. In fact
          an air of mystery adds a dash of panache to
          any steed. And I do believe Tony wears it
          well. Good job Django, well done.

<b>          EXT - THE WESTERN TOWN OF DAUGHTREY - MORNING
</b>          As the citizens of Daughtrey wake up, Django and Dr.Schultz ride Fritz
          and Tony through the main street of town..Daughtrey looks like a
          million western towns we've seen before in movies. But to the
          TOWNSPEOPLE of Daughtrey, Django and the German don't look like a
          million other visitors.
          Dr.SCHULTZ
          What's everybody staring at?

<b>                         DJANGO
</b>          They never seen a nigger on a horse before.
          Dr.SCHULTZ
          What's this bizarre obsession they have
          with. you not riding horses?

<b>                         DJANGO
</b>          You askin' me?
          Dr.Schultz stops Fritz in front of a saloon, and dismounts. Django has
          a little trouble both stopping Tony and getting off him, but it gets
          done. Dr.Schultz keeps bombarding The Slave with questions.
          Dr.SCHULTZ
          So what other archaic rituals are you people
          verboten to take part in?
          As per usual with this white man, Django thinks; "What"?
          Dr.SCHULTZ
          I'm just trying to get a clear idea on what
          you can do, and what you can't do, and if
          you can't do it, why can't you do it?
          Like for instance, what if we were to walk
          in this saloon here, sit down at a table,
          order a drink, and drink it?
          Would the authorities frown on that?

<b>                         DJANGO
</b>          Hell yeah, they gonna frown.
          Dr.SCHULTZ
          What part would they find the most offensive?

                         

                         

                         

                         

<b>                         13
</b>
<b>                         DJANGO
</b>          All of it. I can't be walkin' in no saloon.
          I can't be sittin' my ass on no chair,
          at no table. I can't be drinkin' no drink.
          And I definitely can't be sharin' no drink,
          with no white man, in public.
          Dr.SCHULTZ
          So if you and I did those things, that would
          be considered enough of a infraction to make
          the saloon keeper go get the sheriff?

<b>                         DJANGO
</b>          You bet your sweet ass they get the sheriff.
          The good doctor extends his hand towards the saloon entrance.
          Dr.SCHULTZ
          Well in that case Django, after you.

<b>                         DJANGO
</b>          Whoa - I ain't funnin, I can't go in there.
          Dr.SCHULTZ
          Django you're going to have to learn to trust
          me, and as the man said; "There's no time
          like the,present."
          He takes Django by the arm and leads him into the entryway of the
          establishment.

<b>          INT - SALOON - MORNING
</b>          The nervous black slave and the confident German'dentist walk into the
          saloon.
          The SALOON KEEPER (PETE) is high up on a chair placed high up on a
          table, to change a candle in the saloons chandelier. His back is turned
          away from the two patrons.
          Dr.SCHULTZ
          Good morning inn keeper, two beers for two
          weary travelers.

<b>                         SALOON KEEPER
</b>          It',s still pretty early, we won't be open
          for about a hour. But by then we'll be
          servin' breakfast -
          He turns around and sees them.

<b>                         SALOON KEEPER
</b>          Whoa! What the hell you think you doin' boy,
          get that nigger outta here.

                         

                         

                         

                         

<b>                         IT
</b>
<b>                         TIME CUT
</b>
<b>          EXT - SALOON - MORNING
</b>          It's about five minutes later, and the Saloon Keeper comes running out
          of the bar to get the Sheriff.
          When Dr.Schultz, sitting at a table with the young Django, calls;
          Dr.SCHULTZ
          Inn keeper! Remember, get the sheriff, not
          the marshall. This wouldn't be the marshalls
          jurisdiction.'This is just a infraction,
          on what I assume is a simple county ordinance,
          and that would fall under the domain of the
          Sheriff.
          The Saloon Keeper runs away.
          The two men sit by themselves in the empty saloon.
          Dr.SCHULTZ
          It looks like we must act as our own bartender.
          The German stands up, and walks-behind the bar, and pours two beer's
          from the tap into mugs. Django remains seated, and after a beat, asks;

<b>                         DJANGO
</b>          What kinda dentist are you?
          This makes the doctor laugh, as he pours the beer's.
          Dr.SCHULTZ
          I haven't practiced dentistry in five years -
          Not to say once I know you better, I wouldn't
          like to get a look at that mouth - I'm sure
          it's a disaster - But these days I practice
          a new profession ... . Bounty Hunter.
          This gets no reaction from Django.
          Dr.SCHULTZ
          Do you know what a Bounty Hunter is?
          The Black Man shakes his head, no.
          As the good doctor, walks back to the table carrying the mugs of beer,

<b>                         HE EXPLAINS;
</b>          Dr.SCHULTZ
          Well the way the slave trade deals in
          human lives for cash, a bounty hunter,
          deals in corpses.

                         

                         

                         

                         

<b>                         15
</b>          Dr.SCHULTZ (CONT'D)
          The state places a bounty on a man's head.
          I track that man, I find that man, I kill
          that man. After I've killed him, I transport
          that man's corpse back to the authorities -
          and sometimes that's easier said then done.
          I show that corpse to the authorities -
          proving, yes indeed, I have truly killed him
          - At which point, the authorities pay me
          the bounty.
          (lifting his beer)
          Cheers.
          The two men touch glasses, and take a drink.

<b>                         DJANGO
</b>          What's a bounty?
          Dr.SCHULTZ
          It's like a reward.

<b>                         DJANGO
</b>          You kill people and they give you a reward?
          Dr.SCHULTZ
          Certain people, yes.

<b>                         DJANGO
</b>          White people?
          Dr.SCHULTZ
          Mostly. A few Mexicans. Couple Chinamen.

<b>                         DJANGO
</b>          Bad people?
          Dr.SCHULTZ
          Badder they are, bigger the reward.
          Which brings me to you, and I must admit
          I'm at a bit of a quandary when it comes
          to you. On one hand, I despise slavery.
          On the other hand, I need your help,
          and if you're not in a position to refuse,
          all the better. So for the time being,
          I'm going to make this slave malarkey
          work to my benefit.

<b>                         (BEAT)
</b>          Still... . having said that, .I feel guilty.
          So... I'd like the two of us to enter into
          an agreement. I'm looking for The Brittle Brothers,
          however in this endeavor I'm at a slight
          disadvantage, in so far as, I don't know
          what they look like. But you do... .dont'cha?

                         

                         

                         

                         

<b>                         1G
</b>
<b>          ï¿½. DJANGO SPAGHETTI WESTERN FLASHBACK
</b>          Django, back at The Carrucan Plantation, held down by Roger and Ellis
          Brittle, as Big John BURNS the "r" into his cheek with a BRANDING IRON.

<b>          BACK TO DJANGO
</b>
<b>                         DJANGO
</b>          I know what they look like, all right.
          Dr.SCHULTZ
          Good. So, here's my agreement. You travel
          with me till we find them -

<b>                         DJANGO
</b>          - Where we goin'?
          Dr.SCHULTZ
          I hear at least two of them are overseeing
          up in Gatlinburg, but I don't know where.
          That means we visit every plantation in
          Gatlinburg till we find them. And when we
          find them, you point them out, and I kill
          them. You do that, I agree to give you
          your freedom... . twenty-five dollars per
          Brittle brother - that's seventy-five
          dollars... . your horse, Tony even though
          I've already gave him to you -- but once the
          final Brittle brother lies dead in the
          dust, I'll buy you a new saddle, and a
          new suit of clothes, handsome cowboy hat
          included.
          Dr.Schultz's eyes go to the saloon window.
          Dr.SCHULTZ
          And as if on cue... . here comes the sheriff.

<b>          EXT - SALOON - MORNING
</b>          We see the sheriff, BILL SHARP, walk towards the saloon cradling a
          Winchester. Some TOWNSPEOPLE (like the Saloon Keeper) stand around to
          watch. A. YOUNG BOY leads a herd of BABY GOATS through town.
          Sheriff Sharp stands in the middle of the street.

<b>                         SHERIFF SHARP
</b>          Okay boys, fun's over, come on out.
          Both the doctor and Django stand up and walk to the front porch.
          As they do, The Sheriff says;

                         

                         

                         

                         

<b>                         1 2
</b>
<b>                         SHERIFF SHARP
</b>          Now why y'all wanna come into my town,
          start trouble, and scare all these nice
          people? You ain't got nothin' better to
          do, then to come into Bill Sharps town
          and show your ass -
          From his top step on the porch, Dr. King Schultz extends his hand
          toward the sheriff, as if to shake it... :.

<b>          .THEN...
</b>          A SMALL DERRINGER - POPS into Schultz's hand from a metal sliding
          apparatus concealed under his jacket sleeve. Once in hand, the dentist
          FIRES one tiny bullet into the belly of Bill Sharp.
          The tiny gun makes a tiny POP sound.
          The shocked Bill Sharp lets out a ugly groan, and doubles over in the
          dirt.
          The TOWNSPEOPLE are startled.
          As is Django.
          As Schultz walks down the porch steps, to the fallen sheriff, reloading
          his tiny pop shooter, a PEDESTRIAN yells out;

<b>                         PEDESTRIAN
</b>          What did you jus' do to our sheriff?
          Dr.Schultz answers him by putting another tiny bullet in the law man's
          skull, killing him dead.
          In the background, ONE WOMAN faints. The Boy and his Goats scatter.
          Dr.Schultz looks over at the Saloon Keeper, across the street.
          Dr.SCHULTZ
          Now you can go get the marshall.

<b>                         TIME CUT
</b>
<b>          EXT - DAUGHTREY MAIN STREET - DAY
</b>          U.S.MARSHALL GILL TATUM snaps the MENFOLK OF Daughtrey to attention.

<b>                         MARSHALL TATUM
</b>          Move that buckboard over there long ways
          across the street from the saloon. And I
          want six men and six Winchesters behind it.
          And I want two men with two rifles on this
          roof, and two men with two rifles on that
          roof, with all barrels pointed at that
          front door. And somebody git poor Bill
          outta the goddamn street.

                         

                         

                         

                         

<b>                         LP
</b>          Cowboys with rifles climb up stairs to take position on the roof of the
          building across the street from the saloon.
          The Marshall directs the buckboard being moved into place.
          The last SNIPER on the rooftop takes his position.

<b>          WHEN...
</b>
<b>          COMING FROM THE SALOON... . PIANO MUSIC ...
</b>
<b>          INT - SALOON - DAY
</b>          Dr.Schultz sits behind the piano playing a catchy little saloon number.
          He seems skilled enough to be a professional western saloon piano
          player. A terrified Django, who's sure his new master is a lunatic
          who's going to get them both killed, peeks out the closed curtains
          on the window.
          Dr.Schultz's suit coat sits draped over a chair. All of his weapons,
          including his metal sliding rail Derringer contraption, lie on a table.
          He plays piano in his button down dress shirt and gray suit vest.
          Dr.SCHULTZ
          What are they doing?

<b>                         DJANGO
</b>          I think they wonderin' why you playin'
          the piana'.
          Dr.SCHULTZ
          Good.

<b>                         (PAUSE)
</b>          But what are they doing?

<b>                         DJANGO
</b>          A buncha white folks brought a buckboard
          around out front, now they hidin' behind it
          with guns. And a buncha other white folks
          are up on the roof, with rifles pointed
          down here.
          Dr.SCHULTZ
          Damn, they got that organized fast. Is the
          marshall out there?

<b>                         DJANGO
</b>          If the one I think is the.marshall is the
          marshall, he's out there.

                         

                         

                         

                         

<b>                         )9
</b>          Dr.SCHULTZ
          What makes you think he's the marshall?

<b>                         DJANGO
</b>          Cause he's the one ready to say somethin'.

<b>                         MARSHALL'S VOICE
</b>          You in the saloon!
          Dr.Schultz stops playing the piano.

<b>                         MARSHALL'S VOICE
</b>          We got eleven Winchesters on every way
          outta that buildin'! You got once chance
          git outta this alive! You and your nigger
          come out right now with your hands over
          your head, and I mean, right now!
          Dr.SCHULTZ
          First things first! Is this the marshall
          I have the pleasure of addressing?

<b>                         MARSHALL TATUM
</b>          Yes it is, this is U.S. Marshall Gill Tatum.
          Dr.SCHULTZ
          Wunderbar! So marshall, I have relieved
          myself of all weapons, and just as you
          have instructed, I'm ready to step outside
          with my hands raised above my head.
          I trust as a representative of the
          criminal justice system of The United
          States of America, I shant be shot down
          in the street, by either you or your deputies,
          before I've had my day in court.

<b>                         MARSHALL TATUM
</b>          You mean like you did our sheriff? Shot
          'em down like a dog in the street!
          Dr.SCHULTZ
          Yes, that's exactly what I mean! Do I
          have your word as a lawman not to shoot
          me down like a dog in the street?

<b>                         MARSHALL TATUM
</b>          Well, as much as we'd all enjoy seein'
          somethin' like that, ain't nobody gonna
          cheat the hangman in my town!
          Dr.SCHULTZ
          Fair enough marshall, here we.come.!

                         

                         

                         

                         
          Dr.SCHULTZ

<b>                         (TO DJANGO)
</b>          They're a little tense out there. So don't
          make any quick movements, and let me do
          the talking.
          Django looks at him like, "as if..."

<b>          EXT - SALOON/MAIN STREET - DAY
</b>          A lot of guns are trained on the front door of the saloon.
          Outside of range, the WHOLE TOWN watches the stand off.
          The saloon doors open, and Dr.Schultz and Django, hands raised, step
          outside.

<b>                         MARSHALL TATUM
</b>          You unarmed?
          Dr.SCHULTZ
          Yes indeed we are. Marshall Tatum, may I
          address you, your deputies, and apparently
          the entire town of Daughtrey, as to the
          incident that just occurred?

<b>                         MARSHALL TATUM
</b>          Go on!
          Dr.SCHULTZ
          My name is Dr.King Schultz. And like
          yourself, marshall, I am a servant of the
          court. The man lying dead in the dirt,
          who the good people of Daughtrey saw fit
          to elect as their sheriff, who went by
          the name of Bill Sharp, is actually a
          wanted outlaw by the name of Willard Peck,
          with a price on his head of two hundred
          dollars. That's two hundred dollars, dead
          or alive.

<b>                         MARSHALL TATUM
</b>          The hell you say!
          Dr.SCHULTZ
          I'.m aware this is probably disconcerting
          news. But I'm willing to wager this man
          was elected sheriff sometime in the last
          two years. I know this because. three years
          ago he was rustling cattle from,
          The B.C. Corrigan Cattle Company of
          Lubbock Texas.

                         

                         

                         

                         

<b>                         Z/
</b>          Dr.SCHULTZ (CONT'D)
          In my possession. is a warrant made out by
          circuit court Judge Henry Allen Laudermilk
          of Austin Texas. You are encouraged to wire him.
          He will back up who I am, and who your
          dear departed sheriff was.
          The Menfolk of the town with rifles, begin trading looks. Then
          Dr.Schultz delivers the coup de grace.
          Dr.SCHULTZ
          In other words marshall, you owe me
          two hundred dollars.

<b>                         CUT TO
</b>
<b>          EXT - TENNESSEE COUNTRY ROAD - DAY
</b>          Django and Dr.Schultz, who by now have ridden quite a few miles
          together, ride their horses in the Tennessee countryside, on the way to
          Gatlinburg. Dr.Schultz is dressed in one of his nearly identical grey
          business suits, and Django is still dressed in his slave pants,
          Schultz's button down dress shirt, and Ace Speck's winter coat.
          Somewhere along the way a pair of shoes have appeared on'his feet.
          Dr.SCHULTZ
          One needs a plan, son. These are brutal
          times. A man who survives, is a man with
          a plan. A man who thrives, is a man with
          a good plan. So, having said that, what's
          your plan, young Django?

<b>                         DJANGO
</b>          What'cha mean?
          Dr.SCHULTZ
          Well, after this Brittle business is behind
          us, you'll be a free man, with a horse, and
          seventy five dollars in your back pocket.
          What's your plan after that?

<b>                         DJANGO
</b>          Find my wife, and buy her freedom.
          Dr.SCHULTZ
          Django, I had no idea you were a married man.
          Do most slaves take the institution of
          matrimony seriously?

<b>                         DJANGO
</b>          Huh?

                         

                         

                         

                         

<b>                         ZZ
</b>          Dr.SCHULTZ
          Do slaves believe in marriage'?

<b>                         DJANGO
</b>          Me and my wife do.
          Dr.SCHULTZ
          Where is she now?

<b>                         DJANGO
</b>          I dunno. They put us in different boxcars,
          and sent U.S to The Greenville Slave Auction.
          She got sold two days 'fore me.
          But I don't know who to.
          Dr.Schultz takes out a long stick of beef jerky.
          Dr.SCHULTZ
          Care for some jerky?

<b>                         DJANGO
</b>          Sure.
          Dr.Schultz rips him off a piece. Django chews on it. As he chews,

<b>                         SCHULTZ SAYS;
</b>          Dr.SCHULTZ
          So your plan is to trackdowri your wife, and
          purchase her.freedom? Only you don't know
          where she is?
          A chewing Django nods his head, yes.
          Dr.Schultz, takes a big bite of jerky, chews for a "moment contemplating
          the dilemma, then pronounces;
          Dr.SCHULTZ
          Well that shouldn't be all that difficult.
          So how long ago did all this happen?

<b>                         DJANGO
</b>          A few months ago.
          Dr.SCHULTZ
          Three or four?

<b>                         DJANGO
</b>          Three.
          Dr.SCHULTZ
          So shecamefrom the Carrucan Plantation,
          and shewassold at The Greenville Slave
          Auctiontosome :unknown customer three
          monthsago?
          Django nods his head, yes.

                         

                         

                         

                         

<b>                         Z3
</b>          Dr.SCHULTZ
          The bad part about slavery being a business,
          is it's immoral. The good part about it being
          a business is, they keep records. Somewhere
          in Greenville there's a book with your wife's
          name in it, and the name of the customer who
          bought her, and more then likely their address.
          But then Schultz seems to get second thoughts.
          Dr.SCHULTZ
          Still, seventy-five dollars in your back
          pocket is a pretty nice grub steak, but it's
          not going to get you very far in Greenville.
          Not to mention a slave auction town in
          Mississippi isn't the safest place you could
          visit. Free or not.

<b>                         DJANGO
</b>          I'll have my freedom papers.
          Dr.SCHULTZ
          Yes you will. But say you show them to some
          rascals, and they take them from you and
          tear them up?

<b>                         DJANGO
</b>          They could do that?
          Dr.SCHULTZ
          I'm not saying they would, but they could.

<b>                         DJANGO
</b>          They do that I'll kill 'em.
          Dr.SCHULTZ
          Great! Now you get hung for killin' a white
          man. The point being is the place,is just
          too dangerous for you.

<b>                         DJANGO
</b>          Well I gotta go, when do I go?
          Dr.SCHULTZ
          When you get more dangerous.

<b>          EXT - CHATTANOOGA - DAY
</b>          Muddy and wet big city Chattanooga. We're in the back of a STORE that.
          sells SERVANT/HOUSE NIGGER UNIFORMS. Django comes bursting out of the
          stores back door. He's very distressed. One glance at the outfit he's
          wearing explains the distress.

                         

                         

                         

                         

<b>                         Z
</b>
<b>                         DJANGO
</b>          is dressed in a powder blue satin Little Lord Fauntleroy outfit, that
          wouldn't be out of place in the court of Marie Antoinette at
          Versailles.
          Dr.Schultz comes trailing after him.
          Dr.SCHULTZ
          Django, you have to, it's part of "The Act".
          You're playing a character. Your character
          is The Valet. This is what The Valet wears.
          Remember what I told you. During the act,
          you can never break character.

<b>                         CUT TO
</b>
<b>          EXT - BENNETT MANOR- DAY
</b>          We see Dr. Schultz, riding slightly in front of Django, dressed in his
          blue satin Little Lord Fauntleroy outfit, as they enter the property of
          BENNETT MANOR, a plantation in Gatlinburg, Tennessee. Django leads a
          riderless horse, behind him and Tony.
          As the two men ride their horses up the road that leads to the front
          steps of Bennett Manor, alongside the cotton fields, all the SLAVES
          stop picking cotton, and straighten their bent backs up to stare in
          wonder at this sight.
          The patriarch of Bennett Manor, SPENCER "BIG DADDY" BENNETT, dressed in
          a fancy leisure suit of the day, emerges from the double doors of the
          mansion, and stands on the top steps, hands on hips, watching the white
          man and black man move from the background to the foreground.
          While there are plenty BLACK MALES out in the cotton fields, the
          majority of the slave population of Bennett Manor is pretty.BLACK
          FEMALES, fourteen to twenty-four, referred to as, "PONY'S".
          The biggest money making crop of this farm, after cotton.
          As Dr.Schultz and fancy pants Django, bring Fritz and Tony to a stop
          in front of Bennett Manor, they've drawn quite a crowd of SLAVES,
          BENNETT FAMILY MEMBERS, and WHITE WORKERS (OVERSEER'S).
          Spencer Bennett keeps on the top step so he won't be forced to look up
          at the darkee on the horse.

<b>                         SPENCER BENNETT
</b>          It's against the law for niggers to ride
          horses in this territory.
          Dr.SCHULTZ
          This is my valet, and my valet doesn't walk.

<b>                         SPENCER BENNETT
</b>          I said niggers -

                         

                         

                         

                         
          Z .ate`
          Dr.SCHULTZ
          His name is Django, he's a free man, and
          he can ride what he pleases.

<b>                         SPENCER BENNETT
</b>          Not on my.property, around my niggers
          he can't.
          Dr.SCHULTZ
          My good sir, perhaps we got off on the
          wrong boot. Allow me to unring this bell.
          My name is Dr.King Schultz, this is my
          valet, Django, and these are our horses,
          Fritz, and Tony.
          Fritz, does his head bow.
          This makes the pretty PONY'S surrounding Bennett, giggle.
          Dr.SCHULTZ
          Mr. Bennett, I've been lead to believe you
          are a gentleman, and a business man.
          And it is in these capacities that we've
          ridden from Texas to Tennessee to talk
          with you now.

<b>                         SPENCER BENNETT
</b>          State your business.
          Dr.SCHULTZ
          I wish to purchase one of your
          nigger gals.

<b>                         SPENCER BENNETT
</b>          You and your Jimmie rode from Texas to
          Tennessee, to buy one of my nigger gals,
          no appointment, no nuttin'?
          Dr.SCHULTZ
          I'm afraid so.

<b>                         SPENCER BENNETT
</b>          Well what if I say, I don't like you, or
          your fancy pants. nigger, and I wouldn't
          sell you a tinkers damn - what'cha gotta
          say about that?
          Dr.SCHULTZ
          Mr. Bennett, if you are the business man,
          I've been led to believe you to be,
          I have five thousand things I might say,
          that could change your mind.
          i This gets everybody's attention, not least of all Spencer Bennett.
          Spencer laughs.

                         

                         

                         

                         

<b>                         ZG
</b>
<b>                         SPENCER BENNETT
</b>          C'mon inside, get yourself something' cool
          to drink.
          The incognito bounty hunter, dismounts his steed, as does Django.
          Then the good doctor walks up the steps to Bennett Manor.
          Dr.SCHULTZ
          Maybe while we discuss business, you
          could provide one of your loveliest black
          creatures to escort Django here around
          your magnificent grounds.

<b>                         SPENCER
</b>          Absolutely. Betina!
          A pretty, fleshy, sweet jelled, twenty-two year old slave gal named
          BETINA, snaps to attention.

<b>                         BETINA
</b>          Yes sir, Big Daddy?

<b>                         SPENCER
</b>
<b>                         (TO SCHULTZ)
</b>          What's your Jimmies name again?
          Dr.SCHULTZ
          Django.

<b>                         SPENCER
</b>          Betina sugar, take Django around the
          grounds. Show 'em all the pretty stuff.

<b>                         BETINA
</b>          As you please, Big Daddy.
          Dr.Schultz lowers his voice, and says to the plantation owner;
          Dr.SCHULTZ
          Mr. Bennett, I must remind, you, Django is a
          free man. He cannot be treated like a slave.
          Within the bounds of good taste, he must be
          treated as an extension of myself.

<b>                         SPENCER
</b>          Understood., Schultz. Betina?

<b>                         BETINA
</b>          Yes, sir?

<b>                         SPENCER
</b>          Django isn't a slave. Django is a free
          man. Do you understand? You're not to treat
          him like any of these other niggers around
          here, cause he ain't like any of these
          other niggers around here. Ya got it?

                         

                         

                         

                         

<b>                         BETINA
</b>          Ya want I should treat 'em like white
          folks?

<b>                         SPENCER
</b>          No that's not what I said.

<b>                         BETINA
</b>          Then I don't know what'cha want Big Daddy.

<b>                         SPENCER
</b>          Yes, I can see that.

<b>                         (HE THINKS)
</b>          What's the name of that peckawood boy from
          town works with the glass? His mama works
          at the lumber yard? He comes by and fixes
          the winda's when we have a problem?
          The MAMMY OF BENNETT MANOR chimes in;

<b>          MAMMY OF BENNETT MANOR
</b>          Oh, you mean Jerry.

<b>                         SPENCER
</b>          Yeah, that's the boy's name, Jerry.

<b>                         (TO BETINA)
</b>          You know Jerry, dont'cha sugar?

<b>                         BETINA
</b>          Yes 'em, Big Daddy.

<b>                         SPENCER
</b>          Well that's it then... just treat 'em
          like you would Jerry.

<b>          EXT - ANOTHER PART OF BENNETT MANOR - DAY
</b>          Away from the big house, Betina gives Django a tour of the grounds.
          Her in her slave get up, complete with handkerchief on her head, and
          him in his satin baby blue Little Lord Fauntleroy outfit, are quite
          the pair. She eyeballs him disapprovingly up and down.

<b>                         BETINA
</b>          What'cha do for your massa'?

<b>                         DJANGO
</b>          Didn't you hear him tell ya, I ain't no slave.

<b>                         BETINA
</b>          So you really free?

<b>                         DJANGO
</b>          Yes.

                         

                         

                         

                         

<b>                         ZY
</b>
<b>                         BETINA
</b>          You mean you wanna dress like that?
          Django fumes.

<b>          EXT - BENNETT MANOR (BACK PORCH) - DAY
</b>          Both Spencer Bennett and Dr.Schultz sit on the back porch drinking
          lemonade.
          Dr.SCHULTZ
          I've been'told by those who should know,
          the most exquisite African flesh in the
          state of Tennessee is bred right here on
          your land. And from the look of these
          black angels, my sources weren't wrong.

<b>                         SPENCER
</b>          Oh I got my share of, coal blacks, horse
          faces, and gummy mouth bitches out in the
          field. But the lion share of my lady
          niggers are real show pony's.
          Dr.SCHULTZ
          Well that's what I'm looking for, a show
          pony for young Django. So the only
          question that remains is, do you have a
          nigger here worth five thousand dollars?

<b>                         SPENCER
</b>          Dr.Schultz, five thousand dollar nigger,
          is practically my middle name.

<b>          BACK TO DJANGO AND BETINA
</b>          Betina and Django walk by a big tree on the plantation grounds.
          The cotton fields and the SLAVES picking it, in the background.

<b>                         DJANGO
</b>          Betina, come over here, I need to ask
          you something.
          He moves her by the tree for more privacy. Betina thinks this fancy
          pants wants to get all lovey-dovey, and she couldn't be less interested.

<b>                         BETINA
</b>          What'cho want?

<b>                         DJANGO
</b>          I'm lookin' for three white men. Three
          brothers. Overseers. Their name is
          Brittle. Do you know 'em?

<b>                         BETINA
</b>          Brittle?

                         

                         

                         

                         

<b>                         DJANGO
</b>          Yes, Brittle. John Brittle. Ellis Brittle.
          And Roger Brittle, sometimes called, Little Raj.

<b>                         BETINA
</b>          I don't know dem.

<b>                         DJANGO
</b>          They could be usin' a different name.
          They woulda' come to the plantation in
          the last year.

<b>                         BETINA
</b>          You mean The Shaffer's?

<b>                         DJANGO
</b>          Maybe? Three brother?

<b>                         BETINA
</b>          Ah-huh.

<b>                         DJANGO
</b>          Are they here?

<b>                         BETINA
</b>          Ah-huh.

<b>                         DJANGO
</b>          Can you point one of 'em out to me?

<b>                         BETINA
</b>          Well ones over in that field.
          She points to the cotton field, at a OVERSEER on top of a horse, whip
          in hand, eyeing the blacks at his mercy.
          Django takes hold of a little bag slung over his shoulder opens it, and
          takes out a shiny brass SPYGLASS, the type a sea captain might use.
          Obviously a prop from Dr.Schultz. He slides it open, places it against
          his eye, and points it in the direction of a figure out in the cotton
          field landscape.

<b>                         SPYGLASS POV:
</b>          Astride his nag, the filthy hillbilly, who calls himself SHAFFER, but
          who Django knows to be ELLIS BRITTLE, looks on, oblivious to Django's
          observation.

<b>          DJANGO SPAGHETTI WESTERN FLASHBACK
</b>          He remembers Ellis Brittle BURNING a "r" into Broomhilda's cheek with a

<b>          BRANDING IRON.
</b>
<b>          BACK TO DJANGO AND THE SPYGLASS
</b>          he lowers the glass.

                         

                         

                         

                         

<b>                         3 0
</b>
<b>                         BETINA
</b>
<b>                         (INNOCENTLY)
</b>          Is that who you lookin' for?

<b>                         DJANGO
</b>          Yep.
          He folds the spyglass back up, and puts it back in his purse.

<b>                         DJANGO
</b>          Where's the other two?

<b>          BETINA.
</b>          They by the stable, punishin' Little Jody
          for breakin' eggs.

<b>                         DJANGO
</b>          They whippin' Little Jody?
          She nods her head, yes.

<b>                         DJANGO
</b>          Point me in that direction.
          She points to a shed, and keeps pointing right.

<b>                         BETINA
</b>          You go to that shed, and keep goin' that way.
          Which means; "Go to the shed and turn right."

<b>                         DJANGO
</b>          Go git that white man, I came here with.
          He slaps her ass, to hurry her up.
          Then looks to the shed, and begins crossing the distance between him
          and The Brittle Brothers.

<b>                         FLASH ON
</b>          A memory from The Carrucan Plantation; The Brittle Brothers giving his
          wife Broomhilda, a peelin'.
          PEELIN' : A punishment by bullwhip, across the back.
          LITTLE RAJ makes a line in the dirt with the heel of his boot.
          Making Django stand behind it, as he watches his wife being whipped.
          BIG JOHN BRITTLE SLASHES the beauty of Broomhilda's back with his

<b>          BULLWHIP.
</b>          DJANGO, keeping behind the line, begs Big John for mercy.

                         

                         

                         

                         

<b>                         3/
</b>
<b>                         DJANGO
</b>          Please Big John, she won't do it no more!
          She's real sorry!
          The WHIP RIPS her back.

<b>                         DJANGO
</b>
<b>                         (SCREAMING)
</b>          Goddamit, Big John!

<b>                         LITTLE RAJ
</b>          Whoa nigger, calm down, keep it funny.
          Django gets on his knees, and on behalf of Broomhild.a, begs Big John
          Brittle with everything he has.

<b>          BACK TO DJANGO
</b>          crossing the lawn towards The Brittle Brothers, like an express train.

<b>                         FLASH ON
</b>          Big John Brittle standing over him, bullwhip in hand, saying to the

<b>                         KNEELING DJANGO;
</b>
<b>          BIG JOHN BRITTLE
</b>          I like the way you beg, boy.

<b>          EXT - STABLE - DAY
</b>          Little Raj Brittle, ties LITTLE JODY, a petite slave girl (eighteen)
          to a dead tree stump.
          BIG JOHN BRITTLE paces, taking a few practice CRACKS with his WHIP.
          LITTLE JODY begs The Shaffer Brothers/The Brittle Brothers for mercy.
          ROGER goes and sits on a old wagon wheel to watch the whippin'.

<b>          BIG JOHN BRITTLE
</b>          Now Jody quit your caterwaulin'. You know
          yourself it's for your own good. Niggers
          are clumsy. You'd break everything in
          goddamn sight, you weren't cured. And the
          only known cure for nigger clumsiness
          is a peelin'.
          Little Jody begs to differ.

<b>          BACK TO DJANGO
</b>          As Django in his powder blue satin suit hurries across the grass to
          Little Jody and The Brittle Brothers, he collects eight little friends
          who happily run along with the fast walking man. EIGHT LITTLE FRENCH
          BULLDOGS who bark, yelp, snort and breath at his heels.. Django pays the
          little dogs no nevermind.

                         

                         

                         

                         

<b>                         3 2-
</b>
<b>          BACK TO BIG JOHN BRITTLE
</b>          In position to take the skin off of Little Jody's back.

<b>                         BIG JOHN
</b>          After this we'll see if you break eggs again.

<b>                         DJANGO
</b>          turns the corner to the stable, and stands behind them. They don't see
          him. Big John rears back to make the first WHIP LASH...

<b>          WHEN ...
</b>          .DJANGO'S VOICE, stops him;

<b>                         DJANGO
</b>          John Brittle!
          Big John breaks his whip stride, looks. up, and in a discarded full
          length broken mirror from the big house, laying abandoned against the
          stable wall, he see's DJANGO, dressed in his powder blue satin Little
          Lord Flauntleroy outfit, surrounded by his pack of little French
          Bulldogs.
          LITTLE JODY on her knees, tied to the dead tree stump, looks up see's
          the same thing in the mirror.
          LITTLE RAJ looks to his left at the sounds of the voice.
          BIG JOHN turns toward Django, who he still doesn't recognize.
          DJANGO just stares back.
          BIG JOHN smile disappears. He recognizes Django.
          So does Roger.

<b>                         LITTLE RAJ
</b>          Django?
          Django crosses toward Big John, raising up his arm like he's going to
          shake his hand ...

<b>                         DJANGO
</b>          Remember me?
          .Django extends his arm, and Dr.Schultz's Derringer arm
          contraption,. POPS the TINY GUN into his hand, and he FIRES a tiny
          bullet smack dab into BIG JOHN'S MERCILESS HEART.

<b>          BIG JOHN FACE
</b>          goes into shock... .he falls to his knees...he looks up, clutching his
          heart, at Django.

<b>                         DJANGO
</b>          I like the way you die, boy.

                         

                         

                         

                         

<b>                         3 3
</b>          Big John hears it...then tips over dead.
          LITTLE JODY can't believe what she's just seen.
          FOUR OTHER SLAVES who just happen to be walking in the background, see
          it.
          LITTLE RAJ is stunned ... . then comes to his senses, fumbling for the
          gun he wears on his hip, but since he's no gunman, in his haste, he
          gets it out of his holster, but drops it on the ground.
          It goes off... BANG.
          SHOOTING himself in the foot, he HOPS UP AND DOWN in pain.
          The Bulldogs scatter at the sound. of the BANG.
          DJANGO picks Big John's WHIP off the ground., and begins WHIPPING
          LITTLE RAJ across the face and chest.
          MORE SLAVES gather.

<b>          DJANGO WHIPS HIM TO THE GROUND
</b>          whips him on the ground, then throws the whip to the ground, picks
          Roger's pistol off the ground, and empties it (FIVE SHOTS) into Roger.
          To say the slaves are flabbergasted, is a understatement.
          Dr.Schultz rides his horse up quickly, rifle in his hand. He sees
          Django, and the two dead bodies.
          Dr.SCHULTZ
          Who are they?

<b>                         DJANGO
</b>          That's John Brittle, and that's his
          little brother Raj.
          Dr.SCHULTZ
          Where's Ellis?

<b>                         DJANGO
</b>          He's the one hightailin' it across that
          field right now.
          Ellis Brittle riding his horse full out through the cotton field trying
          to make an escape.

<b>                         SCHULTZ'S WINCHESTER
</b>          goes to his eye, he follows the rider with his rifle barrel.
          Dr.SCHULTZ
          Are you sure that's him?
          Ellis gets further away...

                         

                         

                         

                         

<b>                         DJANGO
</b>          Yes!
          Dr.SCHULTZ
          Are you positive?
          Ellis gets further away...

<b>                         DJANGO
</b>          I dunno.
          Dr.SCHULTZ
          You don't know if you're positive?
          Ellis gets further away...

<b>                         DJANGO
</b>          I don't know what, positive,'means.
          Dr.SCHULTZ
          It means you're sure.

<b>                         DJANGO
</b>          Yes.
          Dr.SCHULTZ
          Yes, what?

<b>                         DJANGO
</b>          Yes I'm sure that's Ellis Brittle.

<b>          BAM!
</b>          The German picks the middle Brittle brother off his horse.
           The dead man WIPES OUT horribly in the thick cotton brush.
          RED BLOOD splashes on WHITE COTTON.
          The German and Django have the entire plantation's attention.
          Spencer Bennett (with his Winchester), his SONS and his OVERSEERS,
          and some HOUSE NIGGERS come around like a angry mob.
          The German tosses his rifle in the dirt, and raises his hands.
          Django does the same with his pistol.
          Dr.Schultz addresses the ANGRY MOB.
          Dr.SCHULTZ
          Everybody calm down, we mean no one else any harm!

<b>                         SPENCER
</b>          Just who the hell are you two jokers?

                         

                         

                         

                         

<b>                         35;
</b>          Drï¿½. SCHULTZ
          I am Dr.King Schultz, a legal representative
          of the criminal justice system of the
          United States of America. The man to my
          left is Django Freeman, he's my. deputy.
          In my pocket is a warrant signed by circuit
          court judge Henry Allen Laudermilk of Austin
          Texas, for the arrest and capture, dead or
          alive, of John Brittle, Ellis Brittle, and
          Roger Brittle --

<b>                         DJANGO
</b>          - They were goin by the name, Shaffer.
          Dr.SCHULTZ
          You know them by the name, Shaffer.
          But the butchers real names'were Brittle.
          These are wanted men. The law wants them
          for murder. I reiterate, this warrant
          states dead or alive. When Django and myself
          executed these men on sight, we were operating
          within our legal. boundaries. Now I realize
          passions are high. But I must warn you,
          the penalty for taking deadly force
          against a officer of the court in the
          performance of his duty is, you will be
          hung by the neck until you are dead.
          This does put a momentary pause in the lynch mob's blood lust.
          After his dramatic pause for effect...
          .Dr.Schultz says;
          Dr.SCHULTZ
          May I please remove the warrant from my
          pocket so you may examine it?
          Resting his Winchester over his shoulder, Bennett reaches for the
          paper.

<b>                         SPENCER
</b>          Gimmie.
          Dr.Schultz removes the warrant from his jacket pocket, and hands it to
          the plantation owner. Bennett reads it silently to himself, resigned to
          what it says.
          Dr.SCHULTZ
          Satisfied.
          Bennett eyes go from the warrant to the German.
          Dr.SCHULTZ
          May I have that back?

                         

                         

                         

                         

<b>                         36
</b>          ,- Bennett hands Schultz back the piece of paper.
          Dr.SCHULTZ
          We good?

<b>                         BENNETT
</b>          Get off my land.
          Dr.SCHULTZ
          Post haste.

<b>                         (TO DJANGO)
</b>          Load up the bodies as quickly as
          you can, and let's get out of
          here.

<b>                         TIME CUT
</b>          All three dead Brittle Brothers lie over the back of the extra horse
          the bounty hunters brought with them.
          Both Bounty Hunters are back in their saddles ready to leave.
          With all the eyes of the plantation on them, the white and black man
          start to ride out, when Spencer "Big Daddy" Bennett, steps in their way
          for one final threat.

<b>                         BENNETT
</b>          Ain't nobody gonna touch you and your Jimmie
          while you on my property. But for lettin' a
          nigger kill a white man, and especially for
          letting a nigger kill a white man in a
          audience of niggers, y'all ain't gonna make
          it out of the county alive. Mark my words
          Schultz, by tomorrow morning your niggers
          gonna be stripped and clipped and hangin'
          from my motherfuckin' gate.
          Dr.SCHULTZ
          I'm fully aware Bennett, that you and your
          regulator playmates aren't shy about
          killing for what you believe in. But mark
          my words Big Daddy, if you make a move
          towards Django or myself, you better be
          prepared to die for it.
          The two men ride off.
          The Black and White Audience watch them go.

<b>          EXT -- A TENNESSEE LAKE - NIGHT
</b>          INSERT: Dr.Schultz's SADDLE BAG, the doctor's hands remove THREE STICKS
          /!. OF DYNAMITE from it.

                         

                         

                         

                         

<b>                         3 7
</b>          INSERT: The doctor's HANDS bind the Three Sticks of Dynamite together.
          INSERT: The Three Sticks are WRAPPED UP in a BRIGHT YELLOW BANDANA.
          INSERT: The Yellow Dynamite Sticks, are buried in dirt about half way,
          with the yellow part protruding from out of the ground.

<b>          CUT TO.
</b>
<b>          CU SPENCER BENNETT
</b>          lying on his belly in the grass.

<b>                         SPENCER BENNETT
</b>          That's them sonsabitches.

<b>                         SPENCER'S POV:
</b>          We see the camp by the lake that Dr.Schultz and Django have set up.
          Both wrapped up in bedrolls. The dead bodies of the Brittle Brothers
          lie by them in a pile. A campfire slowly dims.
          We Cut Back to Spencer Bennett lying on his belly with SIX OTHER RIFLE
          CARING MEN observing the camp, from over a grade.
          The Men sneak back down the hill the way they came...
          Where about TWENTY-FOUR REGULATORS are waiting for them ON HORSEBACK,
          all of the riders heads are covered by FLOUR SACKS with eyes and mouth
          holes cut out. Some carry TORCHES, all carry RIFLES or SHOTGUNS.
          Spencer mounts his horse. "Big Daddy" issues orders astride his
          steed..

<b>                         SPENCER BENNETT
</b>          Now unless they start shootin' first,
          nobody shoot 'em. That's way too simple
          for these jokers. We're gonna whip that
          nigger lover to death. And I'm gonna
          personally, strip and clip that garboon
          myself.
          Having said his blood thirsty words, he puts the flour sack over his
          head. He tussles with the sack for a bit, then from inside the sack;

<b>                         SPENCER BENNETT
</b>          Damn, I can't see fuckin' shit outta
          this thing.
          He sticks his fingers in the.eye holes, and rips, trying to make the
          holes bigger, he only succeeds in making-visibility more obscured.

<b>                         BRADSHAW
</b>          We ready, or what?

                         

                         

                         

                         

<b>                         3 7
</b>
<b>                         SPENCER BENNETT
</b>          Hold on I'm fuckin' with my eye holes.

<b>                         (RIPS)
</b>          Shit ...I just made it worse.
          He rips. it off his head in frustration.

<b>                         RANDY
</b>          I can't see shit either.

<b>                         REDFISH
</b>          Who made this goddamn shit?

<b>          0. B.
</b>          Willards wife.

<b>                         WILLARD
</b>          Well make you own goddamn masks!

<b>                         SPENCER
</b>
<b>                         (TO WILLARD)
</b>          Look nobody's saying they don't appreciate
          what Jenny did.

<b>                         REDFISH
</b>          Well if all I hadda do was cut a bag, I
          could cut it better then this.

<b>          0. B.
</b>          How 'bout-you Robert, can you see?

<b>                         ROBERT
</b>          Not too good. I mean if I.don't move my head,
          I can see you pretty good ... . more or less.
          But when I start ridin' the bag starts moving
          all over, and I'm riding blind.
          Randy tears at his bag.

<b>                         RANDY
</b>          Oh shit, I just made mine worse.
          He puts it on-then says;

<b>                         RANDY
</b>          Yep, it's worse.
          He yanks it off his head.

<b>                         RANDY
</b>          Did anybody bring any extra bags?

<b>                         TERRY
</b>          No, no one brought a extra bag!

                         

                         

                         

                         

<b>                         3 9
</b>
<b>                         RANDY
</b>          I'm just asking.

<b>                         DOUG
</b>          Do we hafta wear 'em when we ride?

<b>                         SPENCER
</b>          Shitfire, if you don't wear 'em as you ride
          up, that just defeats the purpose.
          Redfish, fatter then some (but not all), takes off his bag.

<b>                         REDFISH
</b>          I can't see in this fucking thing!
          I can't breathe in this fucking thing!
          And I can't ride in this fucking thing!

<b>                         WILLARD
</b>          Fuck all y'all! I'm going home. I watched
          my wife work all day gettin' thirty bags
          ready for you ungrateful sonsabitches!
          And all I hear is criticize, criticize, criticize.
          From now on don't ask me or mine for nothin'!
          Willard rides off.
          O.B. removes his bag, and yells after Willard.

<b>                         SPENCER
</b>          O.B., I tole yo to keep quiet! They're asleep,
          not dead.

<b>          O.B.
</b>          But Willards riding off.

<b>                         SPENCER
</b>          Fuck Willard! Look, let's not forget why we're
          here. We gotta killer nigger over that hill.
          And we gotta make a lesson outta 'em.

<b>                         RANDY
</b>          Okay, I'm confused, are the bags on or off?
          Robert takes off his bag, and says;

<b>                         ROBERT
</b>          I think we all think the bags was a nice
          idea. But, not pointing any fingers, they
          could of been done better. So how 'bout,
          no bags this time, but next time, we do the
          bags right, and then we go full regalia.
          Everyone takes off their bag.

<b>                         SPENCER
</b>          Wait a minute, I didn't say no bags!

                         

                         

                         

                         

<b>                         YO
</b>
<b>                         TERRY
</b>          But nobody can see.

<b>                         SPENCER
</b>          So?

<b>                         TERRY
</b>          So, it would be nice to see.

<b>                         SPENCER
</b>          Goddamit, this is a raid! I can't see, you
          can't see, so what? All that matters is can
          the fuckin horse see! That's a raid.
          Spencer puts on his sack, everyone else, reluctantly, does as well.

<b>          EXT - LAKE - NIGHT
</b>          The THIRTY RIDERS, all with SACKS OVER THEIR HEADS, come riding over
          the hill, hooting and hollerin. Since nobody can see they ride
          haphazard into each other.'Redfish falls off his horse hard on his fat
          ass. They surround the camp, and when the sleeping Schultz and Django
          don't react, they know something's up. But since nobody can see,
          everybody and everybody's horse is. confused.

<b>          WE HEAR A GROUP OF LINES FROM CIRCLING COWBOYS ON HORSEBACK WITH BAGS
</b>           OVER THEIR HEADS: "Where are they, I can't see" - "They tricked us" -
          "Did somebody fall" "Where the hell are they" "Y'all, Redfish fell
          off his horse-He's kinda hurt bad."
          Then amongst the confusion...

<b>          WE SNAP ZOOM TO
</b>
<b>          A BIG TREE
</b>          on the other side of the lake
          Then quickly cut into The Tree.
          Till we're in a CU OF Dr.SCHULTZ
          with a SCOPE SIGHT RIFLE up to his eye.

<b>          SCOPE SIGHT POV
</b>          The Yellow covered STICKS OF DYNAMITE protruding from the ground, are
          inside the scope sight circle, Horse hooves step around it.

<b>                         TWO SHOT
</b>          Dr.SCHtJLTZ and DJANGO up in a tree.
          Dr.SCHULTZ
          Auf wiedersehen.

                         

                         

                         

                         

<b>          L,
</b>          He fires.
          The Camp EXPLODES Blowing Horses and Riders Apart.
          Dr.Schultz and Django lift up repeating rifles.
          Dr.SCHULTZ
          Let 'em have it!

<b>                         DJANGO
</b>          I can't see nothin'.
          Dr.SCHULTZ
          Just fire into the smoke.
          The two treetop killers let loose with rifle fire.

<b>          INSIDE OF THE SMOKE
</b>          pandemonium reigns. Horses and Men trip over bodies and pieces of
          bodies, of horses and men. Men with legs and arms blown off, yell
          bloody murder, hurt and scared Horses cry. Some struggle to get the
          sacks off their heads, while scared horses dance and buck in panic.
          Some are shot by the rifle fire. The rest of the men not blown up, and
          still on horseback, between the sacks and the smoke, still can't see
          worth a damn. And Men and Horses collide with one another, which causes
          more bucking and riders falling. About fifteen of the men who can still
          ride, high tail it the fuck out of there. Whipped and whimpering like
          dogs.

<b>                         SPENCER BENNETT
</b>          on his horse with the other fleeing regulators RIDES for his life...

<b>          SCOPE SIGHT POV
</b>          We see the back of the fleeing Bennett smack dab in the cross hairs.

<b>                         DJANGO
</b>          scope sight rifle up to his eye.
          Schultz next to him, says;
          Dr.SCHULTZ
          He's getting away.

<b>                         DJANGO
</b>          I got 'em.

<b>                         SPENCER'S HORSE
</b>          his hooves race and rip up the grass.

<b>                         SPENCER
</b>          riding for his life...

<b>                         DJANGO
</b>          scope sight rifle up to his eye.

                         

                         

                         

                         
          Dr.SCHULTZ
          He's getting out of range.

<b>                         DJANGO
</b>          I got 'em.
          INSERT: A black finger squeezes the rifle trigger.

<b>                         SPENCER BENNETT
</b>          we're behind him as he rides away, OFF SCREEN we hear the whistling of
          what sounds like an incoming missle.

<b>                         SPENCER BENNETT
</b>          we're in.front of Spencer Bennett as he rides, when Django's bullet,
          RIPS THROUGH his CHEST.

<b>                         DJANGO
</b>
<b>                         DJANGO
</b>          I got 'em.

<b>                         SPENCER BENNETT
</b>          falls from his horse, dead.

<b>                         DJANGO
</b>          scope sight rifle in his hand, big smile on his face, looks.to
          Dr.Schultz.
          Dr.SCHULTZ
          Like that, huh?
          Referring to the scope sight rifle;

<b>                         DJANGO
</b>          I like.
          Dr.SCHULTZ
          Well, I think while they take this opportunity
          to lick their wounds, we should take this
          opportunity to get the fuck out of Tennessee.
          They hop out of the tree.

<b>                         MONTAGE
</b>          Dr.Schultz in a big city, buying Django a new saddle. Django gets his
          first initial "D" etched into it. The men go to different stores to
          purchase Django's wardrobe. The outfit bought, is selected by Django,
          with suggestions offered by Schultz. When he's done, Django looks damn
          handsome in his new duds. Brown cowboy boots, Green Corduroy Jacket,
          Smokey Grey Shirt, Tan Skin Tight Pants, and Light Brown Cowboy Hat.
          He looks a. bit like Elvis in "Flaming Star" and a Little Joe Cartwright
          on "Bonanza". However, tellingly, he keeps Ace Speck's Winter Coat as
          his winter coat.

                         

                         

                         

                         

<b>          EXT - COUNTRY MEADOW - PRETTY DAY
</b>          Django, sitting on his new saddle, in his new duds, rides alongside
          the good doctor Schultz. The German carries a PICNIC BASKET.
          Dr.SCHULTZ
          But I'm serious son, Greenville is just too
          dangerous for you to go fucking around there.
          You're a freed, slave, you should be in New York.
          You shouldn't be in Greenville, you shouldn't
          even be forty miles on any side of Greenville.,
          You shouldn't be anywhere in Mississippi.

<b>                         DJANGO
</b>          She's my wife, it's my job to look after her.
          If Greenville's where I gotta go to find out
          where she went, then I gotta go. Now you
          were sayin' where I gotta go first?
          Dr.SCHULTZ
          There'should be some sort of records office.
          You know when she was sold, you know where
          she came from, the Carrucan Plantation, and
          you know her name ... . what is her name?

<b>                         DJANGO
</b>          Broomhilda.
          Schultz reacts.
          Dr.SCHULTZ
          Broomhilda?
          Django.nods his head yes.
          Dr.SCHULTZ
          Were her owners German?
          Now Django reacts, "How did he know that?

<b>                         DJANGO
</b>          Yeah, how did you know? She wasn't born on
          The Carrucan Plantation. She was raised by
          a German mistress, The Von Shafts. She can
          speak a little German too.
          Dr.SCHULTZ
          Your wife?

<b>                         DJANGO
</b>          Yeah, when she was little her mistress taught
          her so she'd have somebody to talk German with.
          Dr.SCHULTZ
          So let me get this straight, your slave
          wife speaks German, and her name is
          Broomhilda Von Shaft...?

                         

                         

                         

                         

<b>                         DJANGO
</b>          Yep. Mouthful, huh?
          Dr.SCHULTZ
          To say the least.
          (stopping the horse)
          This looks like a very pretty place to have
          our picnic. What'd ya say, here?

<b>                         TIME CUT
</b>
<b>          EXT - PICNIC IN COUNTRY MEADOW - PRETTY DAY
</b>          The two men sit on a blanket with a nice picnic spread spread out.
          Django eats a cucumber sandwich with the crust cut off, and drinks a
          cup of tea.

<b>                         DJANGO
</b>          How did you know Broomhilda's first masters
          were German?
          Dr.SCHULTZ
          Broomhilda is a German name. If they named
          her, it stands to reason they'd be German.

<b>                         DJANGO
</b>          Lotsa gals where you from named Broomhilda?
          Dr.SCHULTZ
          No, not so much. Broomhilda is the name of
          a character in one of the most popular of
          all the German legends.

<b>                         DJANGO
</b>          Really? There's a story 'bout Broomhilda?
          Dr.SCHULTZ
          Yes there is.

<b>                         DJANGO
</b>          Do you know it?
          Dr.SCHULTZ
          Every German knows that story. Would you
          like me to tell you?
          Django nods his head, yes.
          Dr.SCHULTZ
          Well Broomhilda was a princess. She was the
          daughter of Wotan, the god of all gods.
          Anyway, her father is really mad at her.

<b>                         DJANGO
</b>          What she do.?

                         

                         

                         

                         
          Dr.SCHULTZ
          I don't exactly remember. I think she disobeys
          him in some way. So at first he's just going to
          obliterate her -

<b>                         DJANGO
</b>          Obliterate... . what does that mean?
          Dr.SCHULTZ
          Like blow up.
          He pantomimes a explosion.

<b>                         DJANGO
</b>          Phew, that's pretty mad.
          Dr.SCHULTZ
          Yes it is, and like most fathers, given a
          little time, he calms down a bit. He's
          still mad at her. He still wants to punish her.
          Just not ... . blow her up. So instead what he
          does, is he puts her high on top of a mountain.

<b>                         DJANGO
</b>          Broomhilda's on a mountain?
          Dr.SCHULTZ
          It's a German legend, there's always going
          to be a mountain in there somewhere. So, he
          puts her on top of the mountain and he puts a
          fire breathing dragon there to guard the mountain.
          And. then he surrounds her in circle of hellfire.
          And there Broomhilda shall remain, unless a hero
          arises brave enough to save her.

<b>                         DJANGO
</b>          Does a fella arise?
          From now on as Dr.Schultz talks, he's beginning to realize something he
          wasn't aware of when the conversation started.
          Dr.SCHULTZ
          Yes Django, as a matter he does. A fella
          named, Sigfried.

<b>                         DJANGO
</b>          Does Sigfried save her?
          Dr.SCHULTZ
          Yes he does, and quite spectacularly, so.
          Now true, he is assisted in his triumph by
          a truly, truly, remarkable sword, still, having
          said that, Sigfried triumphs over all of his
          obstacles not just due to his sword, but due to
          his courage. He scales the mountain, because he's
          not afraid of it. He defeats the dragon, because
          he's not afraid.of him.

                         

                         

                         

                         
          Dr.SCHULTZ (CON'T)
          He walks through hellfire because
          Broomhilda's worth. it.
          After that last line of dialogue... .the two men just let a moment pass
          as they nibble on their sandwiches.

<b>                         DJANGO
</b>          I know how he feels.
          Dr.SCHULTZ
          I think I'm just starting to realize that.
          He pours Django and himself some more tea out of a fancy tea pot, as he
          thinks about what he's going to say next.
          Dr.SCHULTZ
          Look Django, I don't doubt one day you will
          save your lady love. But I'm afraid I can't
          let you go to Greenville in a good conscious.
          Let me ask you a question, how do you like
          the bounty hunting business?

<b>                         DJANGO
</b>          Kill white folks, and they pay ya?
          What's not to like?
          Dr.SCHULTZ
          I hafta admit, we make a good team.

<b>                         DJANGO
</b>          But I'thought you were mad at me for killin'
          Big John and Rodger?
          Dr.SCHULTZ
          Yes, on that occasion, you were a tad
          overzealous. But normally, that's a good
          thing. How'd you like to partner up for
          the winter?

<b>                         DJANGO
</b>          What'd ya mean partner up?
          Dr.SCHULTZ
          You be my deputy, for real this time. A lot
          of the big money is in outlaw gangs. Some
          of these fellas are worth fifteen hundred or
          three thousand a piece. With one man, anything
          over three men is a risk. But with a partner?
          Creating cross fire? It's fish in a. barrel.
          A lot of these gangs hold up in the'hills
          for the winter.

<b>                         DJANGO
</b>          You makin' another agreement?

                         

                         

                         

                         

<b>                         W7
</b>          Dr.SCHULTZ
          Yes. You work with me through the winter,
          till the snow melts. I give you a third
          of my bounties. And while we're together,
          I'll teach you a few things you're going
          to need to know.

<b>                         DJANGO
</b>          Can you teach me how to make Tony do that
          head bow thing that Fritz can do?
          Dr.SCHULTZ
          That among other things. We make some
          money this winter, when the snow melts,
          I'll take you to Greenville myself, and
          we'll find where they sent your wife.
          I'm pretty good at finding people. Is it a deal?
          No white man has ever done anything for Django, just to him. So
          understandably, he's a little suspicious.

<b>                         DJANGO
</b>          Why you care what happens to me? Why you
          care if I find my wife?
          Dr.SCHULTZ
          Well frankly, I've never given anybody
          their freedom before. And now that I have,
          I feel vaguely responsible for you. You're
          just not ready to go off on your own, it's
          that simple. You're too green, you'll get hurt.
          Plus when a German meets a real life Sigfried,.
          it's kind of a big deal. As a German, I'm
          obliged to help you on your quest to
          rescue your beloved Broomhilda.
          Django accepts that response.
          What follows is a MONTAGE covering the five months that Django and
          Schultz partner up as bounty hunters. Schultz wears his normal
          ensemble. Django wears his cool looking Green Jacket, unless it's
          really cold, which a lot of this Montage is. Then he still wears Ace
          Specks raw hide winter coat over his cool clothes.

<b>                         WE SEE
</b>          A SCENE to be improvised (more or less), where Dr.Schultz teaches
          Django how to draw and shoot the pistol in the holster at his hip.
          By the end of the scene, after trial and error, we see Django's going
          to be good at this.

<b>          EXT - HILLSIDE - SUNNY DAY
</b>          We see Django and Dr.Schultz walking up a hill. Tony and Fritz have
          been left tied up downhill. Django leads a extra body HORSE (named
          PONCHO) behind him. Dr.Schultz carries his scope sight rifle in 'a long
          case. They get to the top of the hill. It overlooks a small farmhouse.

                         

                         

                         

                         

<b>          Y, 8
</b>
<b>          DOWN BELOW WE SEE
</b>          A LITTLE MAN struggling behind a plow, and his FIFTEEN YEAR OLD SON
          helping him by leading the horse forward.
          On top of their perch on the hill top, Dr.Schultz says;
          Dr.SCHULTZ
          Keep down or he'll see you.

<b>                         DJANGO
</b>          Who that farmer? Who cares?
          Dr.SCHULTZ
          Well since we came here to kill 'em, he
          just might.

<b>                         DJANGO
</b>          What? The little man pushin' that plow?
          Dr.SCHULTZ
          That little man pushing that plow, is Smitty Bacall.

<b>                         DJANGO
</b>          Smitty Bacall is a farmer?
          Dr.SCHULTZ
          No. Smitty Bacall is a stagecoach robber
          who's hiding out as a farmer, because
          there's a seven thousand dollar bounty on
          his head.
          He hands Django the scope rifle case.
          Dr.SCHULTZ
          And he's all yours my boy.
          DJANGO lays on his belly, with the Scope Sight up to his eye.

<b>          SCOPE SIGHT POV:
</b>          on the Farmer struggling behind his plow, working hard with his horse
          and his son.
          Django's finger on the trigger... .but he hesitates.
          Dr.SCHULTZ
          Oh what happened.to mister I wanna kill white
          folks for money?

<b>                         DJANGO
</b>          His son's with him.
          Dr.SCHULTZ
          Good. He'll have a loved one with him.
          Maybe even share a last word. That's
          better then most get, and a damn. sight
          better then he deserves.

                         

                         

                         

                         

<b>                         1Ï¿½9
</b>          Django still hesitates.
          Dr.SCHULTZ
          Put down the rifle. Don't worry, I'm not
          mad at you. Take out Smitty Bacall's handbill.
          Django removes the folded up handbill from the pocket of his tan pants.
          Dr.SCHULTZ
          Read it aloud. Consider it today's lesson.

<b>                         DJANGO
</b>
<b>                         (READING)
</b>          "Wanted, dead or alive. Smitty Bacall and
          The Smitty Bacall Gang. For murder and
          stagecoach robbery. Seven thousand dollars
          for Smitty Bacall. One thousand and five
          hundred dollars for each of his gang members.
          Known members of The Smitty Bacall Gang are as
          follows, DANDY MICHAELS, GERALD NASH, and

<b>          CRAZY CRAIG KOONS."
</b>          Dr.SCHULTZ
          Well done. Bravo. THAT is who Smitty Bacall
          is. If Smitty Bacall wanted to start a farm at
          twenty-two, they would never of printed that.

<b>                         (REFERRING TO
</b>
<b>                         THE HANDBILL)
</b>          But Smitty Bacall wanted to rob stagecoaches,
          and he didn't mind killing people to do it.
          You want to save your wife by doing what
          I do? This is what I do. I kill people,
          and sell their corpses for cash. His corpse
          is worth seven thousand dollars.
          Now quit your pussyfootin and shoot him.
          Django SHOOTS.
          The Little Man down below behind the plow falls down.
          The Young Boy doesn't know what happened at first. Then he figures'out
          his father was just shot. He goes to him in the dirt.
          Dr.SCHULTZ
          You need to keep that Smitty Bacall handbill.

<b>                         DJANGO
</b>          Why?
          Dr.SCHULTZ
          It's good luck. You always keep the
          handbill of your first bounty.
          They begin walking down the hill, to collect Smitty Bacall's body,
          leading the extra body horse behind them.

                         

                         

                         

                         

<b>                         50
</b>          As they walk down hill, they watch the little scene of Smitty Bacall's
          Son cradling his dying father.in his arms, the older man speaking his
          last words to his son before he dies.
          Dr.SCHULTZ
          See, they're having a tender little father son
          moment now. No doubt the most heartfelt one
          they've ever had.

<b>          EXT - SNOWY FOREST - NIGHT
</b>          It's now full on snowy winter in the hills.
          Django practices his quick draw against a SNOWMAN he's built. He sticks
          a BOTTLE in it, so the bottom of the bottle is where the snowman's
          heart would be.
          He DRAWS...
          Shoots the bottle heart!
          He DRAWS ...
          Shoots the left coal eye.
          He DRAWS ...
          Shoots the right coal eye.
          He DRAWS...
          Shoots the carrot nose.
          Dr.Schultz comes up behind him.
          Dr.SCHULTZ
          I think it's safe to say you're faster then
          the snowman.

<b>          EXT - SNOWY FOREST - DIFFERENT NIGHT
</b>          A outlaw gang known as The WILSON - LOWE GANG (five guys) ride through
          a snowy forest at night. When all five men and their Horses, are SHOT

<b>          FROM ABOVE.
</b>
<b>          DJANGO AND SCHULTZ
</b>          up in a tree, FIRING DOWN ON them.

<b>          EXT - WINTER MOUNTAIN TOWN MAIN STREET - NIGHT
</b>          The FLAKES continue to FALL HARD as Dr.Schultz and Django ride down
          the main street of town, pulling poor Poncho who's FULLY LOADED DOWN
          with five corpses.

                         

                         

                         

                         

<b>                         571
</b>          The local SHERIFF, DON GUS, watches the two men ride up, he knows them.

<b>                         SHERIFF GUS
</b>          Doctor and Django, how the hell are ya,
          and who the hell ya got there?
          Dr.SCHULTZ
          The Wilson - Lowe Gang.

<b>                         SHERIFF GUS
</b>          Who the hell's The Wilson - Lowe Gang?
          Dr.Schultz removes a handbill from his inside jacket pocket, and hands
          it down to the friendly peace officer.
          Dr.SCHULTZ
          Bad Chuck Wilson, and meaner Bobby Lowe.
          And three of their acolytes.

<b>                         SHERIFF GUS
</b>          Just leave 'em out here, they ain't going
          nowhere. And if'in they do, god must love
          'em, so who are we to say. Come outta the
          snowy snow and git yourself some coffee.

<b>          TNT - SHERIFF GUS'S OFFICE - NIGHT
</b>          The snow encrusted bounty hunters come inside the lawmans office.
          They exchange pleasantries about the weather as the Sheriff pours them
          coffee. After the two frosty gentlemen have drunk some of the hot
          liquid, they get down to business. As Schultz and Gus discuss the
          bounties, Django reads the handbills aloud from off the wall. On the
          third one he reads, WARREN VANDERS, and a two thousand dollar bounty,
          "That one", Schultz says.
          Django RIPS IT off the wall.
          As the winter has progressed, we see they've become a genuine bounty
          hunting team. And Django, a genuine bounty hunter.

<b>          EXT - PRETTY MEADOW - DAY
</b>          The snow has melted, and it's SPRING. And inside of this meadow Django
          practices his fast draw against five men...
          .by Schultz throwing FIVE COINS in the air ...
          DJANGO DRAWS FAST shoots three coins, FIRES again hitting another, then
          falls to the ground to get the fifth.
          He looks up from the ground at Schultz.

                         

                         

                         

                         

<b>                         5L
</b>          As Schultz collects the coins off the ground, he says;
          Dr.SCHULTZ
          You're pretty confident aren't you?
          Django nods his head, yes.
          Dr.SCHULTZ
          You have reason to be.
          He holds out his fist, opens his hand, the coins lay in his palm.
          All the coins have bullet holes dead in their center. He drops them on
          top of Django.

<b>                         DJANGO
</b>          Still think I'm too green for Greenville?
          Dr.Schultz removes a pipe, sticks it in his mouth and says;
          Dr.SCHULTZ
          Oh you're ready for Greenville.
          He lights a match, then lights the pipe, puffing as he says;
          Dr.SCHULTZ
          Greenville ready for you, that I'm not so
          sure.
          He blows out the match...

<b>          WE GO TO BLACK
</b>          What we also saw in the above montage is Django shake off a lifetime of
          slavery. Django, in his green jacket, in his cowboy hat, on top of his
          steed Tony, with his gun hanging from his hip, has become his own man.
          He's not a slave anymore. He's a bounty hunter.

<b>          BLACK TITLE CARD
</b>          ACROSS THE SCREEN ONE LETTER AT A TIME STYLE (ala "Rocky" and

<b>                         "FLASHDANCE")
</b>
<b>                         MISSISSIPPI
</b>
<b>                         CUT TO
</b>
<b>          EXT - THE TOWN OF GREENVILLE MISSISSIPPI - DAY
</b>          The whole Main Street of Greenville is thick with five inches of shit
          brown mud that all the horse hooves, and wagon wheels, and slave feet
          have to wade through to get from one end of the town to the other.

                         

                         

                         

                         

<b>                         53
</b>          We see Django and Dr.Schultz enter the town, and slosh their horses in
          the mud,, down the main street of Greenville Mississippi. The buying and
          selling of slaves is what the whole town is built around.
          BLACK MEN, WOMEN, and CHILDREN in BONDAGE are everywhere you look.
          LINES OF CHAINED SLAVES being marched one way or the other, move
          through the muddy streets of Greenville. WHITE MEN on horses move them
          along.
          BUCKBOARDS filled with DOMESTIC SLAVES (HOUSE NIGGERS), and pretty
          PONYS, driven by WHITE MEN roll through the street.
          A YOUNG WHITE BOY (14 years old), a shepherd, leads a bunch of
          SLAVE CHILDREN through town. A SHEPHERD'S DOG, HELPS HIM OUT BY MOVING

<b>          THE KIDS ALONG.
</b>          Impromptu slave auctions take place on almost every block.
          A SUBTITLE APPEARS on the bottom of the screen:

<b>                         GREENVILLE
</b>
<b>          CHICKASAW COUNTY, MISSISSIPPI
</b>          Dr.Schultz takes in this African flesh market, where human beings sell
          other human beings, with disgust and a little bit of shock.
          Django is neither disgusted or. shocked, he knows first hand how
          Greenville operates.
          As he rides Tony through town in his snappy duds, he looks'at the BLACK
          MEN half dressed: in chains. He REMEMBERS HIMSELF with his six Other
          Companions from earlier, being walked through the mud of Main Street by
          The Speck Brothers. On that day he might as well of been a steer.
          Today, with a gun on his hip, money in his pocket, in his snappy
          outfit, astride his steed Tony, he feels so different from these
          wretched half naked bastards it gives him a bit of a chill.
          Django sees the towns railroad depot, and across from it a huge SLAVE
          PEN, like a STEER CORRAL. At the moment there's no train in the depot.

<b>          WE FLASH ON
</b>          The TRAIN, at a earlier time, pulling into the depot.

<b>          INSIDE ONE OF THE BOXCARS
</b>          amidst a boxcar full of shirtless BLACK MALES, Django watches the train
          pull into the station, from inside the wooden slates of the boxcar.:
          A hatch in the roof of the boxcar is NOISILY YANKED OPEN, and TWO WHITE
          SLAVE TRADERS (RUSS AND JUDD), peer down at their human cargo.

<b>                         JUDD
</b>          Good god almighty these niggers stink!

                         

                         

                         

                         

<b>                         I F
</b>
<b>                         RUSS
</b>          Niggers stink, where's the shock?
          (to the Slaves

<b>                         BELOW)
</b>          Okay you bucks, listen up, and listen
          well, I'm only gonna say this once.
          There's a slave corral right across from
          this boxcar. We gittin ready to open these
          doors. When we do, y'all run as fast as you
          can, right into that pen. 'Anyone gittin off
          trail, gonna get hurt and hurt bad. Now you
          niggers better comprehend. And that goes for
          any African garboons amongst y'all can't
          understand english ... . your American buddies
          better shove your ass in the right direction,
          or your trip to this country is going to be
          short, and pointless. Train to pen as fast as
          you can!
          The boxcar door is slid open, and a HUNDRED AND FIFTY BLACK MALES
          run full out from the train to the steer corral.
          We spot Django during the running.
          Once inside the corral, the gate is closed.
          COWBOYS with rifles act as prison guards.

<b>          INSIDE THE CORRAL
</b>          through the wooden posts, in the distance, Django watches them open up
          the boxcar holding the females. They do their run to their pen out of
          view.
          Django catches a quick glimpse of Broomhild.a running with the other
          LADIES, then she's gone from view.

<b>          BACK TO DJANGO (PRESENT)
</b>          Django and Dr.Schultz on top of their horses, taking in the sight of
          Greenville.
          Dr.SCHULTZ
          It's a spectacle out of Dante.

<b>                         DJANGO
</b>          You should see it from the other side.
          Dr.SCHULTZ
          Frankly, I don't know if I could endure this.

<b>                         DJANGO
</b>          You'd be surprised what you can endure.

<b>                         (BEAT)
</b>          Where to?

                         

                         

                         

                         

<b>                         675
</b>          Dr.SCHULTZ
          Records office.

<b>                         CUT TO
</b>
<b>          INT - RECORDS OFFICE - DAY
</b>          Dr.Schultz and Django walk into a records office, lined with books.
          We watch through the store front window, the black man and white man
          enter, and Dr.Schultz present his business card to a Dickensian looking
          RECORDS OFFICE WORKER. As Schultz starts his spellbinding with words
          routine... . The CAMERA FADES TO BLACK.

<b>          BLACK TITLE CARD:
</b>
<b>                         BROOMHILDA
</b>
<b>          INT - SLAVE PEN - DAY
</b>          The same shot we saw before of Django fighting his way to the bars of
          the slave pen, to get a better last look of Broomhilda.
          Broomhilda, as before is walked by in the distance.
          Then, as before Django loses sight of her.

<b>          EXT - MAIN STREET - GREENVILLE - DAY
</b>          We follow in front of Broomhilda being lead out of the slave pen by TWO
          WHITE MALE SLAVERS. Her bare feet slosh in the Main Street mud, and
          the leg irons scrap her ankles.
          Up until now everything you've ever seen of Broomhilda, has only been
          in Django's Spaghetti Western Flashbacks. In other words, from his
          perspective, and memory. This is the,only time the story will shift to
          Broomhilda's perspective. The strong but frightened girl is led out on
          to the hustle and bustle, and wagon wheels and horse hoofs of Main
          Street.
          Broomhilda is not taken into that three story auction arena that Django
          was sold in at the beginning. Instead She's just lifted up on a parked
          buckboard wagon. Her SELLER (CLYDE) starts his pitch on the TWELVE or
          so BUYERS that watch this puny make shift auction.

<b>                         BROOMHILDA
</b>          looks down into the crowd of twelve ugly white men, and holds her
          breath which one will buy her.
          Among the ugly white men we see Mr.HARMONY (MIKE), not quite as ugly as
          the rest. An older well dressed, classy gentleman. Next to him is his
          twenty four year old overweight awkward son SCOTTY HARMONY.

                         

                         

                         

                         
          Scotty in the audience, and Broomhilda on the wagon, THEIR EYES MEET,
          he nudges his dad.
          The Seller makes her expose her breasts to the small crowd. Then her
          back, revealing her whip marks. Then pointing out the runaway "r"
          branded in her cheek.
          Some of the crowd, including Scotty, react with repulsion at the sight
          of the whip marks. The Seller assures the crowd, that niggers don't
          feel pain like white folks, and it only makes the women more gentle.

<b>          SELLER - CLYDE
</b>          Fellahs, you ain't felt gentle, till you felt
          nigger gal gentle.

<b>                         UGLY MAN
</b>          makes a bid.

<b>                         BROOMHILDA
</b>          yikes.

<b>                         UGLIER MAN
</b>          higher bid.

<b>                         BROOMHILDA
</b>          reacts.

<b>          UGLIER BY FAR GUY
</b>          makes leap frog big bid.

<b>                         BROOMHILDA
</b>          reacts.

<b>          BIG GREASY FAT GUY
</b>          makes a bid.

<b>          BIG FAT GREASY BEAVER PELT COVERED TRAPPER
</b>          makes a bid.

<b>          A GIGGLING LEERING GROUP OF BROTHERS
</b>          make a bid.

<b>          A SEVENTY FIVE YEAR OLD INDIAN ON A MULE
</b>          makes a bid.
          Mr.Harmony makes a bid for his son Scotty.
          Broomhilda notices that. And makes more eye contact with Scotty.
          They look at each other as Mr.Harmony continues to bid.
          A LITERARY NARRATOR comes on the soundtrack.

                         

                         

                         

                         

<b>                         NARRATOR (VO)
</b>          On that day, eight months ago, the auction
          was won by Mike Harmony, as a birthday present
          for his fat boy son Scotty.
          Mr.Harmony congratulates his son.
          From on top of the buckboard Broomhilda looks down at her new owners.
          Later they leave for the Harmony house. Scotty lifts Broomhilda up into
          the back of the buckboard. He hands her a little white bag.

<b>                         SCOTTY
</b>          This is for you.
          She opens the bag,candies of many colors sit in it.

<b>                         SCOTTY
</b>          They're jelly beans. Try one.
          She selects a yellow one and puts it in her mouth.

<b>                         SCOTTY
</b>          Good huh?
          She nods her head, yes.
          We see him drive the buckboard out of Greenville with Broomhilda in the
          back eating her bag of jelly beans.

<b>          $XT - COUNTRY ROAD - DAY
</b>          The buckboard makes its way down a country road. Broomhilda in the
          back, and Scotty driving the wagon.
          Scotty bought her, but he's too scared to talk to her.
          Broomhilda's muddy bare feet dangle off the wagon. She's beginning to
          realize the young master is the shy type.

<b>                         BROOMHILDA
</b>          Master Scotty... ?

<b>                         SCOTTY
</b>          Yes Broomhilda?

<b>                         BROOMHILDA
</b>          I'm lonely back here. Can I come on up with
          you on that seat so we can talk?

<b>                         SCOTTY
</b>          Please, I'd love that.
          She climbs into the driver's seat. In more ways then one.

                         

                         

                         

                         

<b>                         '8
</b>
<b>          EXT - THE HARMONY HOUSE - DAY
</b>          A nice two story southern house. Very nice, but hardly a plantation.
          The household's FOUR DOMESTIC SLAVES. Broomhilda will be the fifth. The
          buckboard pulls up to the front of the house.
          Scotty's mother, Mrs.HARMONY (MARY LOUISE), waits to meet her son, and
          his new bought nigger gal.
          The older lady looks the black girl up and down and says to her;
          Mrs.HARMONY
          What's your name, gal?

<b>                         BROOMHILDA
</b>          Broomhilda.
          Mrs.HARMONY
          Follow me. into the kitchen,
          ('to her son)
          You stay out here.

<b>          INT - KITCHEN - DAY
</b>          Mrs.Harmony brings Broomhilda in her kitchen. The TWO DOMESTIC SLAVES
          that were in, there are chased out by the boss lady. Mrs.Harmony grabs
          Broomhilda by the wrist, and tells her;
          Mrs.HARMONY
          I want to have a word with you, wench. You met
          my boy Scotty. You can tell ain't no white
          girl gonna fool with him. And if they do fool
          with him, they fool with him for the wrong
          reason. Boy's twenty four, he still ain't a
          man yet. That's why you're here. Be nice to him.
          He's a very sweet boy. Play him right, he'll
          eat bird seed out of your palm. Play 'em
          wrong, you'll deal with me.

<b>                         BROOMHILDA
</b>          I like Scotty. He's just shy is all. All he
          needs is a little confidence.
          Mrs.HARMONY
          And you'll give that to him?

<b>                         BROOMHILDA
</b>          I'll do my best, mam. Scotty's a real sweet boy.
          Mrs.HARMONY
          He is, isn't he?

<b>                         BROOMHILDA
</b>          Ah-huh.
          The mother lets go of the young lady's wrist.

                         

                         

                         

                         

<b>                         19
</b>
<b>                         NARRATOR (VO)
</b>          Basically The Harmony's bought a slave
          bride for young master Scotty that day.
          And the two kids had a nice time playing
          house for awhile.
          We see Scotty and Broomhilda catching butterflies in butterfly nets in
          the daytime..
          At night they catch LIGHTNING BUGS together.
          At night in Scotty's bed, while the young man lay fast asleep,
          Broomhilda looks at her jelly jar of GLOWING LIGHTNING BUGS.

<b>                         NARRATOR (VO)
</b>          As Scotty's sort of defacto sweetheart, if
          no visitors were about, Broomhilda would
          even join the family at their dinner table.
          We see them at dinner eating fried chicken and mashed potatoes and
          gravy.

<b>          NARRATOR.(VO)
</b>          And pretty soon she was adopted into a
          member of the family.
          Mrs.Harmony and Broomhilda sewing together.
          The Harmony family and Broomhilda playing croquet in the front yard.
          After dinner, Mrs.Harmony entertaining the family by playing the piano.
          Mr.Harmony reading the women and his son a story from a storybook.

<b>                         NARRATOR (VO)
</b>          Scotty was never happier.
          Scotty and Broomhilda walking holding hands at Southern magic hour.
          Broomhilda having sex with Scotty, baby talking with him, talking him
          through it, making him feel loved and secure.

<b>                         NARRATOR (VO)
</b>          After three months of this bliss,
          Scotty decided to take Broomhilda for
          a romantic weekend in Greenville.

<b>          SCOTTY AND BROOMHILDA
</b>          drive through the Main Street of Greenville, dressed to the nines, in a
          fancy carriage. Broomhilda dressed in a beautiful white lace dress,
          complete with white lace gloves, fancy ladies hat, and white parasol.
          Scotty, very proud of his pretty Pony, is dressed in a fashion best
          described as plantation pimp daddy.

                         

                         

                         

                         

<b>                         6O
</b>
<b>                         NARRATOR (VO)
</b>          White masters would take their pretty
          Ponys to Greenville for a treat or romantic
          excursion, for two reasons-One, seeing
          how bad the other slaves had it, always made
          the papered Ponys appreciate their privilege
          position, (just in case they'd forgot).

<b>                         BROOMHILDA
</b>          holding her parasol, looking like a black Daisy Miller, watches the
          OTHER SLAVES march by in the mud. They watch her too.

<b>          INT - HOTEL LOBBY - NIGHT
</b>          Broomhilda and Scotty, and their luggage, move into the fancy hotel
          lobby, and rent a room at the front desk.

<b>          INSERT: HOTEL REGISTRY
</b>          Scotty signs his name. The DESK CLERKS HAND checks the box on the
          registry book that indicates darkee female companion.

<b>          INT -. GREENVILLE - NIGHT
</b>           Greenville at night is a little different. At night, RICH WHITE MASTERS
          showing off their Ponys (like Scotty), rule the streets.

<b>                          NARRATOR (VO)
</b>          And two, there was a sliver of society that
          ran through Greenville at night that catered
          to white masters who were infected with a
          condition that was normally referred to as,
          "Nigger love." At night the streets, the bars,
          bistros, and buggy rides were ruled by rich
          white masters showing off their pretty Pony's.

<b>          EXT - CLEOPATRA CLUB - NIGHT
</b>          An establishing shot.of the three story house that has been converted into
          private club called, The Cleopatra Club.

<b>                         NARRATOR (VO)
</b>          But the crown jewel of all this interracial
          frivolity, was the members only, Cleopatra
          Club.

<b>          INSERT: GOLD PLAQUE
</b>          with the name, THE CLEOPATRA CLUB on it, next to it is a profile of
          Nefertiti.

                         

                         

                         

                         

<b>           6!
</b>
<b>          INT - THE CLEOPATRA CLUB - RESTAURANT - NIGHT
</b>          The interracial joint is jumping (as long as by interracial you mean
          white men and black women).
          Scotty and Broomhilda are enjoying a fancy dinner in the clubs dining
          room.
          We see across the dining room, the powerful white man, CALVIN CANDIE,
          sitting with some White Men and some Black Ponys, eyeing Broomhilda.

<b>                         SCOTTY
</b>          I gotta tell you Broomhilda -
          I don't care if I go to. hell for this -
          I love you. And if loving you means I go to
          hell ... . Well then hello Mr.Devil.
          That was actually kind of funny. Broomhilda was right, all he needed
          was a little confidence. She puts her hand on his.

<b>                         NARRATOR (VO)
</b>          Then... speak of the devil and the devil
          appears.

<b>                         CALVIN CANDIE
</b>          appears at their table.

<b>                         CALVIN CANDIE
</b>          Hello, my name is Calvin Candie, I own
          The Cleopatra Club. And I would just like
          to welcome an attractive couple'like
          yourselves to my favorite place on earth.
          Scotty stands up and shakes hands with Calvin.

<b>                         SCOTTY
</b>          Thank you so much, it's a great honor.
          We love it here.
          Pointing at a empty chair.

<b>                         CALVIN CANDIE
</b>          May I join you?-

<b>                         SCOTTY
</b>          Please, by all means.
          Calvin sits down.
          Broomhilda gets a sinister chill from this smiling jack.
          Scotty, as per usual, is clueless.

<b>                         CALVIN CANDIE
</b>          How long have you been a member?

                         

                         

                         

                         

<b>                         SCOTTY
</b>          We just joined this weekend.

<b>                         CALVIN CANDIE
</b>          Well our little private oasis appreciates
          your patronage. Some may consider the dues
          excessive, but they're necessary for us to
          create this haven for the alternative
          lifestyle we've all become accustomed to.

<b>                         SCOTTY
</b>          Well said, and money well spent.
          He squeezes Broomhilda's hand.
          Candie sees this.

<b>                         CALVIN CANDIE
</b>          It would be.my pleasure, your first
          weekend at the club, to join me and my
          friends at my table.
          Broomhilda knows this is a man to be avoided.
          But Scotty is swept away being courted by somebody like Calvin Candie.
          She tries to imply they should stay where they are. He brushes her off
          with a, "Don't be silly."
          We see Calvin introduce his table of friends to the couple, and they
          join the party.
          Calvin Candie has his arm around a foxy Pony named SHEBA, whose dress
          is a little more revealing then the others.
          They drink and talk, and the White Men have a forced good time. But
          Calvin Candie can't hide his sinister side from Broomhilda, and it
          keeps her uncomfortable, until she excuses herself from the table to go
          to bed. Scotty's having such a good time with his fancy friends he opts
          to stay behind.'Broomhilda leaves in a bit of a huff, due to Scotty's
          disobedience. If these fancy.fucking white men weren't around making
          Scotty feel so puffy chested, he'd never dismiss her that way.
          We FOLLOW Broomhilda out of the club, across the street, to the hotel.

<b>                         NARRATOR (VO)
</b>          After excusing herself, she walked across
          the street to her hotel room. She got
          her white dress dirty in the mud, but she
          didn't care, the night was ruined anyway.
          Some romantic weekend. Wait till she gets
          home and tells his mother how he ignored her.
          She'll fix his fat ass. Wait till he asks her
          to scratch his back next time. She's gonna
          scrape every pimple.

                         

                         

                         

                         

<b>                         '3
</b>
<b>          ï¿½-. BACK AT THE CLEO CLUB
</b>          The now drunk Scotty is playing poker with Calvin and his friends.

<b>                         NARRATOR (VO)
</b>          Back at The Cleopatra Club, as the night
          wore on, Calvin Candie suggested'a friendly
          card game. As the game wore on, it came down
          to a two thousand dollar pot between
          Calvin Candie and Scotty Harmony. Luckily
          for him, Scotty was holding.a inside straight.
          Calvin holds his cards with Sheba draped around him. She whispers
          something in his ear.

<b>                         CANDIE
</b>
<b>                          (TO SHEBA)
</b>          Really?

<b>                         (TO SCOTTY)
</b>          You know what Sheba just tole me?
          Scotty, thinking about his great hand, says;

<b>                         SCOTTY
</b>          What?

<b>                         CANDIE
</b>          She says she thinks you're cute.

<b>                         SCOTTY
</b>          Really? Thank you Sheba, I think you're
          beautiful.
          Sheba whispers something else in Candie's ear.

<b>                         CANDIE
</b>          Sheba says she'd like to give you a little
          lip. Want some lip?
          Scotty, is a little surprised.

<b>                         SCOTTY
</b>          Well, she's your Pony...I mean...

<b>                         CANDIE
</b>          Oh hush, what's a little nigger lip 'tween
          friends. Go on honey, give 'em some sugar.
          Sheba walks over to Scotty's side of the table, and gives him a very lip
          intensive'soul kiss. The table enjoys the show. Then Sheba goes back to
          Calvin's side of the table.
          The game continues.

                         

                         

                         

                         

<b>                         G
</b>
<b>                         CANDIE
</b>          Okay loverboy, I think you're trying to out
          brazen me in my own club, and I won't have
          it. If you're really holding cards, time to
          pony up. I raise you five hundred.
          Candie throws in his chips.

<b>          SCOTTY.
</b>          I see your five hundred...
          (throws in chips)
          .and raise you four hundred more.
          (tosses his last chips)
          Call.
          This is where Calvin Candie has waited to be all night.

<b>                         CALVIN CANDIE
</b>          Not so fast, boy.

<b>                         (BEAT)
</b>          Pot ain't fat enough yet.

<b>                         SCOTTY
</b>          I'm all in.

<b>                         CALVIN CANDIE
</b>          Ain't that too bad.
          Scotty doesn't intend to let this smiling Jack cheat him out of his
          pot, especially with him holding an inside straight.

<b>                         SCOTTY
</b>          I would think a southern gentleman of
          such renown as yourself, wouldn't have
          to resort to buying a pot in his own club.
          Calvin writes on a piece of paper, then throwsit'in the pot.

<b>                         CALVIN CANDIE
</b>          One final raise.
          Scotty takes the piece of paper, "What's this?"

<b>                         CALVIN CANDIE
</b>          It's Sheba's bill of sale.

<b>                         SCOTTY
</b>          What? I don't want her.
          Calvin.and the whole table laugh at that.

<b>                         CALVIN CANDIE
</b>          You sure didn't look like you didn't want her.
          More laughter.

                         

                         

                         

                         

<b>                         CALVIN CANDIE
</b>          In Greenville slaves are currency. And
          Sheba's worth about eight hundred dollars.
          I'm throwing Sheba in the pot. Match or
          fold?

<b>                         SCOTTY
</b>          I'm all out of money.

<b>                         CALVIN CANDIE
</b>          But we ain't playin' for money no more..
          We matchin' nigger gals. And a nigger gal
          you got.

<b>                         SCOTTY
</b>          I can't bet Broomhilda.

<b>                         CALVIN CANDIE
</b>          In Chickasaw County, she's money. Pony her up
          or fold. Somebody get him a piece of paper
          and a pencil.
          Somebody does.

<b>                         CALVIN CANDIE
</b>          Write out a bill of sale, or fold them cards.
          Scotty makes a pressured decision.
          He hurriedly takes the pencil and writes out a Bill of Sale for
          Broomhilda.

<b>                         SCOTTY
</b>          Let me see your cards!
          Candie lays down his cards, he has a FLUSH.
          What Scotty's just done hits him like a ton of bricks.

<b>                         SCOTTY
</b>          You cheated me.
          After Scotty uses the "C" word, everybody quiets down.

<b>                         CALVIN CANDIE
</b>          What did you just call me?

<b>                         SCOTTY
</b>          I called you a card cheatin' son of a bitch,
          cause that's what you are!
          Calvin calmly stands up from the table. He removes a small Derringer
          Gun.from his pocket, and tosses it on the table in front of Scotty.
          Then takes out another one, and tosses it on the table in front
          himself .

                         

                         

                         

                         

<b>                         66
</b>          Everybody in The Cleo Club quiets down.

<b>                         CALVIN CANDIE
</b>          Scott Harmony. For calling me a card cheat
          in my own club, as a southern gentleman,
          I challenge you to a duel.
          (to the Piano

<b>                         PLAYER)
</b>          Piano player, will you hit three separate
          notes?

<b>                         (TO SCOTTY)
</b>          On the third note, pick up the gun and
          try to kill me.
          (to Piano player)
          Piano player please ...
          This is all going too fast for slow Scotty.

<b>                         SCOTTY
</b>          Wait a minute ...no!

<b>          FIRST NOTE ...
</b>
<b>                         SCOTTY
</b>          I ain't dueling with you! I don't want
          to duel!

<b>                         CALVIN CANDIE
</b>          Then get out of here, get in your buggy
          and get out of town.

<b>                         SCOTTY
</b>          Sure. Let me just get my girl.

<b>                         CALVIN CANDIE
</b>          You lost that girl, fat boy.

<b>          SECOND NOTE...
</b>
<b>                         SCOTTY
</b>          Wait!... . Look ... . Mr.Candie, I'm sorry I
          called you a cheat. But... please...I can't
          give you Broomhilda.

<b>                         CALVIN CANDIE
</b>          Last chance fat boy, go home and get'useta
          to fuckin' another one.

<b>                         (BEAT)
</b>          Or pick up that gun.
          Scotty can't leave. He can't go home without her. He can't face his
          parents. He can't walk out on her. No matters what happens he can't
          leave.

                         

                         

                         

                         

<b>                         6 7
</b>
<b>          THIRD NOTE...
</b>          Calvin Candie SHOOTS Scotty Harmony dead.

<b>          INT - HOTEL LOBBY - NIGHT
</b>          Calvin Candie and his entourage enter the hotel lobby and go up to the

<b>          FRONT DESK CLERK..
</b>
<b>                         CALVIN CANDLE
</b>          Hello Oliver.

<b>          FRONT DESK CLERK (OLIVER)
</b>          Hello Mr.Candie, good evening.

<b>                         CALVIN CANDLE
</b>          Good evening to you as well,. young Oliver.
          Could you please inform me which room
          your guest Scott Harmony is staying in?

<b>          INT - HOTEL ROOM - NIGHT
</b>          Broomhilda is asleep in bed...

<b>          WHEN ...
</b>          .Calvin comes'BURSTING in the room holding his belt in his hand. He
          YANKS OFF the sheets that Broomhilda sleeps under. Broomhilda lies
          naked under the covers. Candie brings the belt down around her legs and
          backside.
          She hops out of bed.

<b>          INT - HOTEL LOBBY - NIGHT
</b>          Candie CHASES her naked body with his belt, from the top of the stairs,
          down the stairs, and through the lobby, and out the front door.
          All to the amusement of the WHITE HOTEL GUESTS.

<b>          EXT - GREENVILLE HOTEL - NIGHT
</b>          She RUNS out of the hotel naked, and then TRIPS FALLING INTO THE
          GREENVILLE MUD. She looks up from the mud, at Calvin Candie looking
          down at her.

<b>                         CALVIN CANDIE
</b>          Welcome to Candyland.
          We do a SLOW ZOOM into Broomhilda's face.

                         

                         

                         

                         

<b>                         NARRATOR (VO)
</b>          That was four months ago.

<b>                         CUT TO
</b>
<b>          INT - GREENVILLE SLAVE AUCTION - DAY
</b>          Back inside the three story Auction Block domed room.
          The same room Django was sold in at the beginning.
          Tons of WHITE BUYERS and SELLERS and BLACK SLAVES to be bought or sold
          fill the big hall.

<b>          ONE MANDINGO SLAVE (BANJO)
</b>          stands half naked on the auction block.
          The SELLER' (SHELBY)
          gives the crowd,a sales pitch about Banjo, and starts the bidding.
          Many different UGLY WHITE MEN make bids on the big mandingo, including
          Calvin Candie.
          Dr.SCHULTZ and DJANGO from a pair of OPERA GLASSES
          /-. watch Calvin Candie from up above on the 2nd floor landing.
          FROM Dr.SCHULTZ'S PERSPECTIVE
          We see Calvin Candie, and his black slave.bodyguard, BARTHOLOMEW,
          always dressed in a slightly ill fitting three piece suit and bowler
          hat, among the crowd of buyers at the auction block below.
          Candie's lawyer LEONIDE MOGUY joins him.
          Dr.SCHULTZ
          His name is Calvin Candle, and he is the
          owner of Candyland.

<b>                         DJANGO
</b>          Candyland? The mandingo fightin' place?
          Dr.SCHULTZ
          Oh, so you heard of it?

<b>                         DJANGO
</b>          Ain't no slave ain't heard of Candyland.
          Dr.SCHULTZ
          Well apparently, that's where your wife is,
          and apparently the repellent gentleman down
          there is the one who owns her.

<b>          ï¿½ï¿½` TIME CUT
</b>
                         

                         

                         

                         

<b>                         6R
</b>          The White Man and Black Man find a cubby hole to talk in the auction
          hall.
          Dr.SCHULTZ
          How much do you know about mandingo fighting?

<b>                         DJANGO
</b>          Not so much... A little... Master Carrucan had
          a couple niggers he'd fight.
          Dr.SCHULTZ
          Can you play a mandingo expert?

<b>                         DJANGO
</b>          What?
          Dr.SCHULTZ
          Can you convincingly masquerade as someone
          who is an expert on mandingo fighters?

<b>                         DJANGOÂ¢
</b>          Why?
          Dr.SCHULTZ
          Because when a man has one of the four
          biggest cotton plantations in Dixie, but
          the only thing that seems to ring his chimes
          is big sweaty black males, if WE want to get
          his attention, we better be talking about
          big sweaty black males. So my character is
          that of a big money buyer from Dusseldorf, here
          in Greenville to buy my way into the mandingo
          fight game. And your character is the mandingo
          expert I hired to help me do it.

<b>                         DJANGO
</b>          They call that "One-Eyed Charly."
          Dr.SCHULTZ.
          One-Eyed Charly?

<b>                         DJANGO
</b>          That's what you call it when you buy a slave
          expert. If you wanna raise horses, but don't
          know nothin' 'about horses, you buy yourself
          a One-Eyed Charly who knows about horses.
          He teaches ya. You wanna plant tobacco but
          don't know nothin' about it, you buy yourself
          a One-Eyed Charly knows about tobacco.
          Dr'. SCHULTZ
          Why do they call it One-Eyed Charly?

                         

                         

                         

                         

<b>                         70
</b>
<b>                         DJANGO
</b>          You know, back on the plantation, my. job
          wasn't historian.
          Dr.SCHULTZ
          Testy. It's an unusual name. That's a perfectly
          legitimate question. So, can you convincingly
          play my mandingo One-Eyed Charly? Don't say,
          yes, if you can't.

<b>                         DJANGO
</b>          You want me to play a black slaver? There
          ain't nothin lower then a black slaver. Black
          slavers are lower then head house niggers, and
          buddy, that's pretty fuckin low.
          Dr.SCHULTZ
          Then play him that way! Give me your black slaver.
          Django gets that.
          Dr.SCHULTZ
          Can you do that?

<b>                         DJANGO
</b>          That, I can do. What's next?
          Dr.SCHULTZ
          To get ourselves personally invited to
          Candyland by Calvin Candie himself.

<b>                         CUT TO
</b>
<b>          EXT - THE CLEOPATRA CLUB - NIGHT
</b>          Dr.SCHULTZ and DJANGO stand across the street from The Cleopatra Club.
          Which looks like aregular nice three story house, among other.nice
          houses on an affluent residential block in Greenville Mississippi.
          They open the tiny garden gate in front of the house, walk up the stoop
          steps to the front door. They ring the doorbell.
          A pretty young black girl, dressed in a FRENCH MAID outfit opens the
          door.

<b>                         FRENCH MAID
</b>
<b>                         (SOUTHERN ACCENT)
</b>          Bonjour.
          Dr.SCHULTZ

<b>                         (AMUSED)
</b>          Bonjour, mon petite femme noire.
          We are here to see Calvin Candie.

                         

                         

                         

                         

<b>                         7)
</b>          She's been taught to smile and say:

<b>                         FRENCH MAID
</b>          Enter.
          The two men walk into the entrance way of the house.
          A beautiful mulatto HOSTESS greets the two men.

<b>                         HOSTESS
</b>
<b>                         (SPEAKING QUITE
</b>
<b>                         REFINED)
</b>          Hello gentlemen, I'm Cleo, can I help you?
          Dr.Schultz hands Cleo the guest card.
          Dr.SCHULTZ
          Yes I am Dr.King Schultz, and this is my
          associate, Django Freeman.
          Upon hearing Django is a free man her eyes go to, him.
          Dr.SCHULTZ
          We're here for a appointment with
          Calvin Candie and Leo Moguy.

<b>                         CLEO
</b>          Yes you gentlemen are expected. Please
          make yourself comfortable. I'll inform
          Monsieur Candie you've arrived.
          (referring to the

<b>                         FRENCH MAID)
</b>          Can Coco get either of you two gentlemen
          a tasty refreshment?
          Dr.SCHULTZ
          Not at the moment.

<b>                         CLEO
</b>          Then Coco will entertain you while I
          inform Monsieur Candie.
          Dr.SCHULTZ
          How charming.
          Cleo leaves.
          Django wanders over the dining room, and peers inside.

<b>          INT - DINING ROOM (CLEOPATRA CLUB) - NIGHT
</b>           A lush fancy restaurant dining area inside of this house. The DINERS
           are made up exclusively of well dressed WHITE MEN, and pretty BLACK
          GIRLS (PONYS) dressed in the most elaborate ladies fashions of the day.

                         

                         

                         

                         

<b>                         72
</b>          Some appear to be on dates.
          Some appear to be enjoying a special evening (birthday, anniversary,
          special treat).
          - Some are.two men with two women.
          Some are one man with two or three or more women.
          The white men's ages range from early twenties to old men.
          The girls ages ranges from their twenties, to thirteen.
          The bill of fare is a combination of French cuisine, and hearty beef
          driven American dining.
          The dolled up, decked out'Ponys eat rich French cuisine complete with
          elaborate sauces, and take their knives to thick cuts of steak.
          The younger little girls, usually eat ice cream with hot fudge, banana
          splits, and cookies.
          While-all the men drink whiskey or wine, the girls all drink
          sarsaparilla.
          Dr.Schultz quietly moves next to Django and asks;
          Dr.SCHULTZ
          Have you ever seen anything like this
          before?
          Django shakes his head, no.

<b>                         COCO CHIRPS;
</b>
<b>          COLO. -
</b>
<b>                         (VERY COUNTRY)
</b>          Y'all gonna dine, it's real good. You
          like catfish, we got good catfish. They use
          alotta butta. You like sand dabs, we
          got sand dabs.
          LEO MOGUY descends from the clubs prominent staircase.

<b>                         MOGUY
</b>          Dr.Schultz, good to see you again.
          Dr.SCHULTZ
          Mr.Moguy, thank you for your assistance
          in creating the opportunity for this
          appointment.
          Mr.MOGUY
          Nonsense, it's my job.

<b>                         (CON'T)
</b>
                         

                         

                         

                         

<b>                         73
</b>          Mr.MOGUY

<b>                         (CON'T)
</b>
<b>                         (LOOKING AT
</b>
<b>                         DJANGO)
</b>          .So this'is the One-Eyed Charly I've heard
          so much about.
          Dr.SCHULTZ
          Yes, this is Django.. Django, this is Mr.Candie's
          lawyer, Leonide'Moguy.

<b>                         MOGUY
</b>          Just call me Leo. Calvin's in the billiard
          room, follow me. Y'all want Coco should come
          along too?
          Dr.SCHULTZ
          We would be quite lucky indeed if the
          charming Coco cared.to follow.
          Coco blushes.

<b>                         MOGUY
</b>          You better watch out doctor, you gonna
          steal this little pony's heart.
          They walk through the club to get to the billiard room, as they do they

<b>                         SAY;
</b>          Dr.SCHULTZ
          How long have you been associated with
          Mr.Candie?

<b>                         MOGUY
</b>          Calvin and I were about eleven when we
          went to boarding school together. One
          could almost say, I was raised to be
          Calvin's lawyer.

<b>                         DJANGO
</b>          One could almost say, you a nigger.
          Coco can't believe what this snappy looking cowboy nigger just said to
          Mr.Moguy.

<b>                         MOGUY
</b>          What did you say?
          Dr.SCHULTZ
          Oh nothing, he's just being cheeky.
          Anything else about Mr.Candie I should
          know before I meet him?

<b>                         MOGUY
</b>          Yes, he's a bit of a Francophile.

                         

                         

                         

                         

<b>                         7EF
</b>          Dr.SCHULTZ
          What civilized people aren't?

<b>                         MOGUY
</b>          That's why all the French ambiance. And
          he prefers Monsieur Candie to Mister Candie.
          Dr.Schultz says in FRENCH SUBTITLED IN ENGLISH;
          Dr.SCHULTZ

<b>                         (FRENCH)
</b>          What ever he prefers.
          This stops Moguy, and he turns to warn Schultz.

<b>                         MOGUY
</b>          Oh he doesn't speak French. Don't speak
          French to him, it'll embarrass him.
          They get to the two sliding doors that lead to the billiard room.
          Moguy slides the doors open...
          The party enters the billiard room.

<b>          INT - BILLIARD ROOM (CLEOPATRA CLUB) - NIGHT
</b>           Inside is Calvin Candie, his bodyguard Bartholomew (still dressed in
          the ill fitting suit), and the lanky sexy Sheba.
          Also, at this moment, TWO MANDINGOS are having a bloody and savage
          fight to death in this closed room.
          An older European looking man, who's rooting for the mandingo that
          Calvin's not rooting for, is also in the room. His name is.AMERIGO

<b>          VASSEPI.
</b>          Before any introductions can be made, with his back to the new arrivals
          and his eyes on the black men fighting for their life, Calvin says;

<b>                         CALVIN CANDIE
</b>          Why do you want to get in the mandingo
          business?
          That's quite abrupt and aggressive.
          Dr.Schultz says, as if he's just been massively insulted;
          Dr.SCHULTZ
          You don't intend to allow your 2nd...
          (referring to Moguy)
          .to make the proper introductions?
          Without turning towards them, Candie tells Schultz;

                         

                         

                         

                         

<b>                         7S
</b>
<b>                         CALVIN CANDIE
</b>          Quit stalling and answer the question.
          The room is quiet.
          Dr.SCHULTZ
          The awful truth?

<b>                         (PAUSE)
</b>          I'm bored, and it seems like a good
          bit of fun.
          Candie takes that to heart. He'll accept it for now.

<b>                         CALVIN CANDIE
</b>          Well come on over, cause we gotta us a fight
          goin on that's a good bit of fun_
          Dr.Schultz steps up to get a better look at the savage fight.
          The bigger mandingo is really hurting the smaller one.
          Schultz has schooled Django on the importance of never BREAKING
          CHARACTER.' Well now the good doctor must practice what he preaches.
          Which means not only must he watch. the two men beat each other to
          death, he must appear to convincingly enjoy it.

<b>          CALVIN CANDIE.
</b>          The bigger nigger is mine. I just bought
          him today. What's his name, Moguy?

<b>                         MOGUY
</b>          Big Fred.

<b>                         CALVIN CANDIE
</b>          The other nigger belongs to this disreputable
          Italian gentlemen to my right. Amerigo Vassepi.

<b>                         (TO AMERIGO)
</b>          What's your nigger's name?

<b>                         AMERIGO
</b>          Luigi... .?
          Candie looks over at Django; who doesn't walk over to watch the fight.
          Instead he walks over to a bar set up in the room. A slave bartender
          named, ROSCOE tends it.

<b>                         CALVIN CANDIE
</b>          How 'bout you, boy? You find nigger fightin'
          a good bit of fun?

<b>                         DJANGO
</b>          You seen one nigger fight, ya seen 'em all.

<b>                         CALVIN CANDIE
</b>          How'd you two like to try the signature drink
          of the club?

                         

                         

                         

                         

<b>                         79
</b>          Dr.SCHULTZ
          We'd love to.

<b>                         CALVIN CANDIE
</b>          (yelling to the

<b>                         BARTENDER)
</b>          Roscoe, two Polynesian Pearl Divers, and
          don't spare the rum.
          Roscoe makes the drinks in coconut shell glasses.
          Big Fred kills Luigi.
          Candie and his friends cheer.

<b>                         CALVIN CANDIE
</b>          Arrivederci Luigi! Well, Mr.Vassepi, looks
          like you owe me ten dollars.
          Amerigo pays up the puny bet.
           Django and Schultz get the fancy coconut shell drinks. They both take a
          sip. Schultz hates it, Django loves it.
          Candle turns his attention to Django.

<b>                         CALVIN CANDIE
</b>          What's your name, boy?
          Dr.SCHULTZ
          His name is Django.

<b>                         CALVIN CANDIE
</b>
<b>                         (TO SCHULTZ)
</b>          Where'd ya dig him up?
          Dr.SCHULTZ
          A fortuitous turn of events brought
          Django and myself together.

<b>                         CALVIN CANDIE
</b>
<b>                         (TO DJANGO)
</b>          I've heard tell about you. I heard you're a
          real bright boy.

<b>                         (BEAT)
</b>          I'm curious, what makes you such a
          mandingo expert?

<b>                         DJANGO
</b>          I'm curious, what makes you so curious?
          Bartholomew puts down his pool cue, and turns toward Django;

<b>                         BARTHOLOMEW
</b>          What you say, boy?

                         

                         

                         

                         

<b>                         77
</b>          /ï¿½. Candie puts a calming hand on Bartholomew's shoulder.

<b>                         CALVIN CANDIE
</b>          Calm down Bartholomew, gentle... gentle.
          Dr.SCHULTZ
          Monsieur Candie, I would appreciate it if
          you directed your line of inquiry to me.

<b>                         CALVIN CANDIE
</b>          Doc, I'm a seasoned slaver, you are a
          neophyte. I'm simply trying to ascertain
          if this cowboy is taking advantage of you.
          Dr.SCHULTZ
          With all due respect, Monsieur Candie, I
          didn't seek you out for your advice. I
          sought you out to purchase a fighting
          nigger at above top dollar market price.
          I was'under the impression when you
          granted me an audience, it would be to
          discuss business.

<b>                         CALVIN CANDIE
</b>          No we weren't talking business yet. We
          were discussing my curiosity.
          Now according to Moguy here, if I do
          business with you...

<b>                         (POINTING TO
</b>
<b>                         SCHULTZ)
</b>          , .I'm doin' business with both of y'all.

<b>                          (POINTING TO
</b>
<b>                         DJANGO)
</b>          He does the eyeballin', you the billfold?
          Dr.SCHULTZ
          Well you don't make it sound too flattering,
          but more or less, yes.
          None of the white men in the room have any respect for a white man who
          needs a nigger to tell him what time of day it is.
          Candie turns his attention back to Django.

<b>                         CALVIN CANDIE
</b>
<b>                         (TO DJANGO)
</b>          So Bright Boy,.Moguy here tells me you
          looked over my African flesh, and were
          none too impressed.

<b>                         FLASH ON
</b>          we see. Django looking over THREE MANDINGOS..

                         

                         

                         

                         

<b>          BACK TO CLEO CLUB
</b>
<b>                         DJANGO
</b>          Not for top dollar.

<b>                         CALVIN CANDIE
</b>          Well then we got nothing more to talk
          about. You wanna buy a beat ass nigger
          from me, those are the beat ass niggers
          I wanna sell.

<b>                         DJANGO
</b>          He don't wanna buy the niggers you wanna
          sell. He wants the nigger you don't
          wanna sell.

<b>                         CALVIN CANDIE
</b>          I don't sell the niggers I don't wanna
          sell.
          Dr.Schultz chimes in thoughtfully;-
          Dr.SCHULTZ
          You won't sell your best. You won't even
          sell your second best. But your third
          best... .you don't want to.sell him... .But if
          I made you an offer so ridiculous you'd be
          forced to consider it... . who knows what
          could happen?

<b>                         CALVIN CANDIE
</b>          What do you consider ridiculous?
          Dr.SCHULTZ.
          For a truly talented specimen,
          ."The Right Nigger"..:?
          How much would you say, Django?

<b>                         DJANGO
</b>          Twelve thousand dollars.
          Calvin Candle takes in the figure.

<b>                         CALVIN CANDIE
</b>          Gentlemen, you had my curiosity. Now
          you got my attention.

<b>                         TIME CUT
</b>
<b>          TNT -- CLEOPATRA CLUB -- RESTAURANT - NIGHT
</b>          Candle, Moguy, Django, Schultz, Bartholomew, Sheba, and Coco eat dinner
          in the restaurant. All the men eat thick T-Bones. Coco eats Catfish.
          And Sheba uses her fingers to rip apart Crawdads.

                         

                         

                         

                         

<b>                         77
</b>
<b>                         CALVIN CANDIE
</b>          How ya like that meat, Bright Boy?
          Django's eyes go to Calvin, he nods his approval.

<b>                         CALVIN CANDIE
</b>
<b>                         (TO COCO)
</b>          How's your Catfish, dew drop?

<b>                         COCO
</b>          Real good Monsieur Candie.

<b>                         CALVIN CANDIE
</b>
<b>                         (TO SCHULTZ)
</b>          You spend a lot of time around niggers
          aside from Freeman here?
          Dr.SCHULTZ
          Not so much.

<b>                         CALVIN CANDIE
</b>          Well if'in you did,.you'd know what a
          treat this was for 'em. You feel special
          Coco?

<b>                         COCO
</b>          Yes. sir, Monsieur Candie.

<b>                         CALVIN CANDIE
</b>          You feel special Bartholomew?

<b>                         BARTHOLOMEW
</b>          Yes sir, Monsieur Candie.
          He looks to Sheba, who's licking her fingers from the Crawdads.

<b>                         CALVIN CANDIE
</b>          Now Sheba always feels special. Dont'cha?

<b>                         SHEBA
</b>          Yep.

<b>                         CALVIN CANDIE
</b>          How 'bout you Bright Boy, you feel
          special?

<b>                         DJANGO
</b>
<b>                         (MEANING SHEBA)
</b>          Not as special as her.
          The table breaks out in laughter.

                         

                         

                         

                         

<b>                         CALVIN CANDIE
</b>          Well we're leaving bright and early
          tomorrow morning, and moving the. whole
          kit and caboodle to "Candyland."
          You oughta come with us.
          Dr.Schultz and Django's eyes meet for a moment.. .so far...so good.
          Dr.SCHULTZ
          Well, that wasn't on the agenda. But I
          suppose I could be amenable to that.
          How far must we trek?

<b>                         CALVIN CANDIE
</b>          Oh hardly a ride at all, We'll still be
          in Chickasaw County. Five hours.. .tops.
          There you can get a look at my best
          specimens. Have dinner with my sister
          and I. Spend the night at Candyland as
          my guest.
          Dr.SCHULTZ
          Splendid.
          Django and Schultz trade looks and small smiles.

<b>                         WE CUT
</b>
<b>          EXT - COUNTRY SIDE MISSISSIPPI - DAY
</b>          It's the next day and a whole procession is making their way to
          "Candyland."
          Calvin Candie, Leonide Moguy, Dr.Schultz, Django, and THREE OVERSEERS
          (BILLY CRASH, TOMMY GILES, and HOOT PETERS) ride horses.
          Bartholomew (now dressed in work clothes) drives a buckboard filled
          with'supplies.
          FIVE MANDINGOS (Big Fred and Banjo who we already met, plus JOSHUA,
          SIDNEY JAMES, and TATUM) recently purchased at the Greenville Auction
          walk to their new home, with small bundles of their personal
          possessions under their arm. They look like powerful warriors.

<b>          THREE OTHER SHIRTLESS MANDINGOS (RODNEY, CHICKEN CHARLY, CHESTER) WHO
</b>          WERE THE MANDINGOS FROM Candyland that didn't sell at Greenville are
          walking back to Candyland, with their small bundle of personal
          possessions under their arms. These poor devil's know their fate is
          pretty dismal. Either they'll be sold to the LeQuint Dickey Mining
          Company, or they'll be put in some mandingo fight they can't win, like
          with Samson, or Stonesipher's dogs.

                         

                         

                         

                         

<b>                         J
</b>
<b>                         RODNEY
</b>          walks along the road, looks up at Django riding his horse. All the
          slaves hate Django because they think he's a black slaver. But
          the three heading back to Candyland are even more resentful.

<b>                         FLASH ON
</b>          Django with Schultz, earlier, inspecting and rejecting these three.

<b>                         RODNEY
</b>          gives Django a bad eyeball look up on his horse.

<b>          DJANGO ON TONY
</b>          sees it. He's playing the role of a fucker black slaver, he can't let
          that shit stand.
          He yells down to the powerless man;

<b>                         DJANGO
</b>          Gotta problem with your eyeball, boy?
          Rodney looks away.

<b>                         RODNEY
</b>          No sir.

<b>                         DJANGO
</b>          You want a boot heel in it?

<b>                         RODNEY
</b>          No sir.

<b>                         DJANGO
</b>          Then keep ya damn eyeballs off me!
          Flash that bad look at me again,
          I'll give ya reason not to like me!
           As this parade makes progress, Django keeps his emotions in check, but
          not without difficulty.
          Dr.Schultz comes riding Fritz beside him.
          Dr.SCHULTZ
          How do you like this side of the slave
          trade?

<b>                         DJANGO
</b>          Not so much.
          Dr.SCHULTZ
          Prefer the other side?

<b>                         DJANGO
</b>          I didn't say that.

                         

                         

                         

                         
          Dr.SCHULTZ
          I've confirmed Broomhilda's at Candyland.

<b>                         DJANGO
</b>          Are you sure it's her?
          Dr.SCHULTZ
          He didn't call her by name, but she's a
          young lady, whip marks on 'her back, and
          speaks German. Now while it's not wise to
          assume, in this instance, I think it's
          pretty safe.

<b>                         DJANGO
</b>          Did you offer to buy her?
          Dr.SCHULTZ
          I opened the door to my possible interest.
          But naturally, sight unseen, I can only be
          so interested.

<b>          SUDDENLY ...
</b>          Calvin Candie comes riding up behind them...

<b>                         CALVIN CANDLE
</b>          Am I intruding?
          Dr.SCHULTZ
          Of course not.

<b>                         CALVIN CANDIE
</b>
<b>                         (APPRAISING THE
</b>
<b>                         TWO MEN)
</b>          I swear you two are cozier then a couple
          of cuttle fish.
          Dr.SCHULTZ
          You'd be surprised what a good
          conversationalist Django is.

<b>                         CALVIN CANDIE
</b>          Oh by now, I don't think that would
          surprise meat all.
          Candie gives Django a creepy smile.
          Around now the audience may start noticing DOG BARKING in the distance.
          Dr.SCHULTZ
          When do we reach your property?

                         

                         

                         

                         

<b>          1?3
</b>
<b>                         CALVIN CANDLE
</b>          You been on it. I own the whole sixty
          miles 'fore we get to Candyland.
          Candie gets annoyed at the barking dogs.

<b>                         CALVIN CANDIE
</b>          Excuse me a moment, gentlemen.

<b>                         (YELLING BEHIND
</b>          him at Billy)
          Billy Crash, git up here!
          Billy Crash, a hillbilly overseer who's missing his two front teeth,
          rides up.

<b>                         BILLY CRASH
</b>          Yeah, Boss?

<b>                         CALVIN CANDIE
</b>          Find out what that goddamn commotion
          is up at the tracker shack!

<b>                         BILLY CRASH
</b>          Right away, Boss.
          Billy Crash TEARS UP AHEAD on his horse.

<b>                         CALVIN CANDIE
</b>          You know, confidentially, just 'tween
          us girls, worse things about this
          business, ain't the slaves. It's all
          the white trash ya gotta deal with.
          Like these peckawoods we got riding with
          us. These dumb, ignorant, sleazy sonsabitches
          ain't good fer nuttin, except kickin' a
          niggers ass can't kick back. Yeah, they
          holdin' the pretty part of the whip, but
          it's just a thin membrane separate 'em.
          And don't think they don't know it either.
          It's about the only thing these dumbass
          motherfuckers do know. But ya need 'em.
          Who the hell else ya gonna get to beat a
          niggers ass, other than somebody might as
          well be a nigger hisself. But these mountain
          boys I use as trackers for the runaways,
          they the worst. Nothin but a buncha goddamn
          inbreed hillbillies. Now like that nigger
          gal we was talkin' 'bout. I'm sure it.was
          a pain in the ass, but with a lot of
          patience, that German lady taught Hildi
          how to speak German.
          Django hears her name himself. His head does involuntary jerk, but his
          ï¿½, emotions betray nothing.

                         

                         

                         

                         

<b>                         PTE
</b>
<b>                         CALVIN CANDIE
</b>
<b>                         (CON'T)
</b>          Now these inbred hillbillies, on the other
          hand, they can barely speak English. I can't
          understand a damn word most of 'em say. You
          could teach a plow horse how to make a pot
          of coffee, 'fore you teach those fools how
          to use a knife and fork. I tell ya, if it
          wasn't for catchin' a nigger on the run,
          they'd be as useless as tits on a boar hog.
          Billy Crash comes riding back.

<b>                         CALVIN CANDIE
</b>          What the hell's goin on?

<b>                         BILLY CRASH
</b>          They got 'em a runaway.

<b>                         CALVIN CANDIE
</b>          Who?

<b>                         CUT TO
</b>
<b>          EXT - TRACKER SHACK - DAY
</b>          A BUNKHOUSE for the FOUR HILLBILLY TRACKERS (they track down runaway
          slaves) that live here about forty miles from the Candyland Plantation.
          A little dog kennel, looks like a chicken coup, sits next to the
          bunkhouse.
          The TRACKERS are a hairy, bearded, burly, buck skinned wearing, dirty
          long haired lot.
          Their Leader is Mr.,STONESIPHER, the other three are STEW, LEX, and
          JAKE. The four men could be brothers, or cousins, or father and sons,
          or just from the same hollow.
          Lex holds two SNARLING GERMAN SHEPHERDS on a leash. Stew one SNARLING
          GERMAN SHEPHERD on a leash. And Mr.Stonesipher holds one SNARLING
          GERMAN SHEPHERD on a leash, the lead dog, that goes by the name of

<b>          MARSHA.
</b>          A runaway slave named, D'ARTAGNAN, lies belly down in the dirt,
          surrounded by the four vicious dogs, who BARK, GROWL, and SNAP at him.
          One look at D'Artagnan tells you he's a mandingo who's been in one
          fight too many. One of his eyes have been 'poked out. Big BITES have
          been bit out of both his face and neck (by past fights, human bites,
          not-the dogs), as well as three fingers have been bit off. Not to
          mention he's covered in cuts, like he's been drug through a briar
          patch.

                         

                         

                         

                         

<b>                         O V5
</b>          The fourth Tracker, JAKE, doesn't engage in the melodrama. He hangs in
          the background, CUTTING FIREWOOD with a big axe.
          Calvin Candie, Dr.Schultz, Django, and the whole Candie caravan look
          down on the runaway slave. Including the five new mandingos, and the three
          old mandingos who know D'Artagnan.

<b>                         CALVIN CANDIE
</b>          Well I'll be, D'Artagnan. Now boy, why do
          a fool thing like run off?

<b>                         D'ARTAGNAN
</b>          I can't fight no more, Monsieur Candie.

<b>                         CALVIN CANDIE
</b>          Oh yes you can. You might not be able to
          win, but your ass can fight. - Mr.Stonesipher,
          shut these goddamn dogs up, I can't hear
          myself think!
          Mr.Stonesipher, yells to Marsha;
          Mr.STONESIPHER
          Hush now! Marsha! Marsha, hush up!
          Marsha, Marsha, hush up!
          (to the other

<b>                         TRACKERS)
</b>          Take these goddamn dogs away from this nigger,
          he's just makin' em hungry.
          The other two YANK the dogs away from the fallen Black Man.

<b>                         CALVIN CANDIE
</b>          How long was he loose?
          Mr. Stonesipher spits tobacco juice.
          Mr.STONESIPHER
          A.night. Day. Half the other night.

<b>                         CALVIN CANDIE
</b>          How far he git off property?
          Mr.STONESIPHER
          Bout twenty miles off prop. Pretty fer,
          considering that limp he got.

<b>                         CALVIN CANDIE
</b>          Moguy, who was D'Artagnan suppose to fight
          Friday?.

<b>                         MOGUY
</b>          (pointing behind him)
          One of this new lot.

                         

                         

                         

                         

<b>                         CALVIN CANDIE
</b>          Well the way he looks now a blind Indian
          wouldn't bet 'a bead on 'em.

<b>                         (TO D'ARTAGNAN)
</b>          Boy, you done made yourself as useless as
          a tail on a teddy bear.
          D'Artagnan starts begging.

<b>                         CALVIN CANDIE
</b>          Now now, no beggin', no playin' on my
          soft heart. You in trouble now, son.
          Now you need to understand I'm runnin' a
          business. Now I done paid five hundred
          dollars for you. And when I pay five
          hundred dollars, I expect to get five
          fights outta a nigga 'fore he roll over
          and play dead. You've fought three fights.

<b>                         D'ARTAGNAN
</b>          I won every one.

<b>                         CALVIN CANDIE
</b>          Well, yes you did. But that last one, you
          muddied the line between winning and losing.
          Calvin climbs down off of his horse, and walks to the captured runaway
          on the ground.

<b>                         CALVIN CANDIE
</b>          But the fact remains, I pay five hundred
          dollars, I want five fights. So what
          about my five hundred dollars? You gonna
          reimburse me?
          The Whites (except for Schultz) laugh.
          This whole spectacle is making Dr.Schultz sick to his stomach.
          Not Django ... . he's seen this little drama play out many times before.
          The three returning mandingos, Rodney, Chicken Charly, and Chester,
          watch their fellow doomed servant pay the price for running away.
          The five new mandingos watch Calvin Candie's treatment of D'Artagnan to
          know what to expect from their new home.
          Bartholomew on the buckboard looks at the captured runaway like, poor
          bastard.
          Calvin prods further.

<b>                         CALVIN CANDIE
</b>          You even know what reimburse means?

                         

                         

                         

                         

<b>                         E 17
</b>          The Whites laugh.
          Then SUDDENLY ...
          .The German Speaks;
          Dr.SCHULTZ
          I'll reimburse you.
          All eyes turn to Dr.Schultz.
          Including Django's, whose eyes narrow at the doctor.
          Calvin Candie uses the occasion to perform a slow dramatic turn in the
          direction of the good German.

<b>                         CALVIN CANDIE
</b>          You will?
          Removing his long brown leather billfold from his suit jacket pocket.
          Dr.SCHULTZ
          Yes.

<b>                         CALVIN CANDIE
</b>          You'll pay five hundred dollars for a
          one eyed Ole'Joe, ain't fit to push a
          broom?
          Django's voice cuts through the Mississippi heat.

<b>                         DJANGO
</b>          No he won't.
          All eyes turn to Django.

<b>                         DJANGO
</b>          He's just tired'of you toyin' with him is
          all. And for that matter, so am I. But we
          ain't payin' a penny for that pickaninny,
          we ain't got no use for 'em. Ain't that
          right, Doc?
          Dr.Schultz realizes he's just done the one thing he's always preached
          to Django you can never do..BREAK CHARACTER. The doctor puts his
          billfold back in his suit coat pocket.
          Dr.SCHULTZ

<b>                         (TO CANDIE)
</b>          You heard 'em.
          The Hillbilly Trackers stare up at the black man on the horse in the
          green jacket, slack jawed.
          !` Even the one chopping wood in the BG stops his chopping.

                         

                         

                         

                         

<b>                         CALVIN CANDIE
</b>          You'll hafta excuse Mr.Stonesipher's slack
          jawed gaze. He ain't never seen a nigger
          like you ever in his life..Ain't that right,
          Mr. Stonesipher?
          Mr.. Stonesipher., SPITS.
          Mr.STONESIPHER
          That's right.
          Calvin steps up to Django on his horse. Looking up at the black man,
          Calvin challenges Django to a staring contest.

<b>                         CALVIN CANDIE
</b>          Well now since you won't pay a penny for
          this pickaninny, you won't mind me handlin'
          this nigger however I see fit?

<b>                         DJANGO
</b>          He's your nigger.

<b>                         CALVIN CANDIE
</b>          Mr.Ston.esipher... .let Marsha and her
          bitches send D'Artagnan to nigger heaven.
          Mr.STONESIPHER
          Marsha...git 'em!
          The other Trackers let loose of the leashes holding the German
          Shepherds back.
          The DOGS CHARGE towards D'Artagnan on his knees...

<b>                         THE MANDINGOS
</b>          all react to the sight of the dogs being let loose.
          The DOGS ATTACK D'ARTAGNAN ...
          As we HEAR the ATTACK ...
          Candie.staring contest with Django...
          Django, who expected nothing less and has seen worse, doesn't blink as
          the runaway slave is torn to bits by canine teeth ...
          The other Mandingos are scared sick at what they see.
          The Hillbilly Trackers root the dogs on.
          Dr.Schultz has never seen a man torn apart by dogs before, and he
          appears not to enjoy it.
          Calvin, without blinking, shifts his eyes toward Dr.Schultz, then back
          ï¿½-. to Django.

                         

                         

                         

                         

<b>                         P9
</b>
<b>                         CALVIN CANDIE
</b>          Your boss looks a little green around
          the gills for a blood sport like
          nigger fightin'?
          As D'Artagnan's SCREAMS and Marsha's GROWLS continue OFF SCREEN.

<b>                         DJANGO
</b>          Naw, he just ain't use to seein' a man
          ripped apart by dogs, is all.

<b>                         CALVIN CANDIE
</b>          But you are use to it?

<b>                         DJANGO
</b>          Well, him bein' German an' all, I'm
          a little more use to American's then
          he is. Now Monsieur Candie, whenever you're
          ready, we rode five hours so you could
          show off your stock. Let's git to it.
          Cause as of now, if he's a example, I'
          ain't impressed.
          Calvin...BLINK...
          Saying nothing, Monsieur Candie turns his back to Django, climbs up on
          his horse, then looks at the black man.

<b>                         CALVIN CANDIE
</b>          Follow me.
          The whole caravan rides off as the dogs continue to tear D'Artagnan
          apart.

<b>          EXT - THE GROUNDS OF CANDYLAND - DAY
</b>          The caravan starts to approach Candyland. Calvin Candie and his sister
          own the fourth biggest cotton plantation in the state of Mississippi.
          As the parade gets closer we see fields of cotton, and fields of SLAVES
          picking it.
          The audience might of been expecting Candyland to be a hell on earth,
          Auschwitz, Andersonville, Yuma Prison, a Mexican prison in a Sergio
          Corbucci Spaghetti western ...
          INSTEAD ... . CANDYLAND is very beautiful. The fields of cotton, the way
          the trees hang green vines over everything. It's full of nature and
          natures vibrant colors, and a broiling hot sun to see it all in.
          One of the cottonpickers in the field, DOBIE, looks up, and sees Django
          in his cool green corduroy jacket, badass cowboy hat, on top of Tony.
          He taps the shoulder of another cotton picker (ORWELL), and points out
          Django.

                         

                         

                         

                         

<b>                         90
</b>          All of a sudden all the bent over backs in the field, straighten up to
          get a better look at the black riding a horse.
          Django looks back matching their stare.

<b>          EXT - SLAVE VILLAGE - DAY
</b>          The caravan rolls through the shack/cabin village the slaves live in.
          As the parade rolls through all the SLAVES snap to attention, and bow
          (very formally) as Monsieur Candie rides past. A KING among his SUBJECTS,
          a PATRON with his PEONS, a FATHER amongst his CHILDREN, a SHEPHERD
          among his SHEEP.
          KIDS playing in the dirt get up and run to Calvin on his horse.
          Candie calls the kids by name, takes out a bag of jelly beans, and
          begins tossing them about.
          The Kids scramble in the dirt for the bright colored candy.
          This is Calvin Candie in his element, at his happiest.

<b>          THEN ...
</b>          .DJANGO rides by.
          The CARAVAN moves from the slave village to the White Village the
          overseers and their family live in on the plantation grounds.
          Other then the switch of white faces for black, it's pretty much the
          same village.
          And they too see Django ... . WOW!
          The Caravan enters the road that leads to the front of the Plantation,
          or The Big House as everyone calls it.
          To the left of the Big House is big wooden ARENA built for his Friday
          night nigger fights.
          All the HOUSE SLAVES (the domestic slaves that work for the Candie
          family in the Big House), and WHITE WORKERS (overseers and stray farm
          hands) come out to greet the caravan.
          They all greet Monsieur Calvin Candie, who naturally leads the
          procession, as if he's Alexander The Great returning from the wars.
          As the caravan comes to a stop in front of the Big House, it creates a
          huge dust cloud behind it.
          Calvin's widowed sister LARA LEE CANDIE-FITZWILLY, an attractive
          ï¿½. fortyish, strawberry blonde southern belle, steps out on the porch of
          the Big House to greet her brother.

                         

                         

                         

                         
          Directly above Lara Lee, on the third floor balcony over hang, out.
          steps...

<b>                         STEPHEN
</b>          eyeing Calvin and the approaching caravan.
          Who's STEPHEN? Stephen is a very old black man, who with his bald pate,
          and tufts of white curly hair on the sides, looks like a character out
          of Dickens - if Dickens wrote about House Niggers in the Antebellum
          South. -
          Stephen has been Calvin's slave since he was a little boy. And in
          (almost) every way is the 2nd most powerful person at Candyland.
          Like the characters Basil Rathbone would play in swashbucklers, evil,
          scheming, intriguing men, always trying to influence and manipulate power
          for their own self interest. Well that describes Stephen to a tee.
          The Basil Rathbone of House Niggers.
          The old Man watches the caravan and the trailing dust cloud approach.

<b>          THEN...
</b>          Out of the dust cloud ...EMERGE DJANGO and SCHULTZ... . on TONY and FRITZ.
          All the Candylanders see Django, dressed like he is, up on the horse,
          and for a moment don't know what to think.
          Lara Lee, like her brother, is both surprised and intrigued.
          As Stephen peers down from his perch at the nigger in the green jacket,
          it's hate at first sight. Stephen heads downstairs, he walks with a,
          limp.
          All the caravan riders are still up on their horses. Calvin sees
          Stephen limping towards them, and greets him with a big how do you do;

<b>                         CALVIN CANDIE
</b>          Hello Stephen my boy!

<b>                         STEPHEN
</b>          Yeah yeah yeah, hello my ass - who's
          this nigger up on that nag?

<b>                         CALVIN CANDIE
</b>          Oh Stephen, why so ornery, you miss me?

<b>                         STEPHEN
</b>          Yeah, I miss you like I miss.a rock in my
          shoe. Like I said, who's this nigger, up
          on that nag?

<b>          DJANGO'S VOICE (OS)
</b>          Hey Snowball.

                         

                         

                         

                         
          : Stephen looks up at Django on Tony.

<b>                         DJANGO
</b>          If you wanna know who I am, or the name of
          my horse, you ask me.

<b>                         STEPHEN
</b>          Just'who the hell you callin' Snowball,
          horse boy? I'll yank your ass of that
          goddamn'nag, so goddamn fast - in the mud.

<b>                         CALVIN CANDIE
</b>          Whoa, whoa, whoa, Stephen, let's keep it
          funny. Django's a Freeman.
          Stephen jerks a thumb up towards Django.

<b>                         STEPHEN
</b>          This nigger, here?

<b>                         CALVIN CANDIE
</b>          That nigger there. Let me at least introduce
          the two of. you. Django, this is another
          cheeky black bugger like yourself, Stephen.
          Stephen, this is Django. You two should
          hate each other.
          Stephen uses'the special privilege he and he alone enjoys amongst the
          blacks at Candyland.

<b>                         STEPHEN
</b>          Calvin, who the hell is this nigger you
          feel the need to entertain?

<b>                         CALVIN CANDIE
</b>          Django and his friend in grey, Dr.Schultz
          are customers, and they are our guests
          Stephen. And you - you old decrepit bastard...
          .are to show them every hospitality.
          Do you understand that?

<b>                         STEPHEN
</b>          I don't know why I gotta -

<b>                         CALVIN CANDIE
</b>          You don't hafta know why, do you
          understand?

<b>                         STEPHEN
</b>          Yeah yeah yeah, I understand just fine.

<b>                         CALVIN CANDIE
</b>          Good. They're spending the night. Go up
          in the guest bedrooms and get two ready.

                         

                         

                         

                         

<b>                         93
</b>
<b>                         STEPHEN
</b>
<b>                         (POINTING AT
</b>
<b>                         DJANGO)
</b>          He's gonna stay in the Big House?

<b>                         CALVIN CANDIE
</b>          Stephen, he's a slaver. It's different.

<b>                         STEPHEN
</b>
<b>                         (INCREDULOUS)
</b>          In the Big House?

<b>                         CALVIN CANDIE
</b>          You gotta problem with that?

<b>                         STEPHEN
</b>          I don't gotta problem, unless you gotta
          problem with burin' the bed, the sheets,
          and the pillow cases once this black ass
          motherfuckers gone!

<b>                         CALVIN CANDIE
</b>          That's my problem, they're mine to burn.
          Your problem, right now, is making a
          good impression. And I want you to start
          solving that problem right now, and git
          them rooms ready.
          The Old Man looks up at his Master, and says;

<b>                         STEPHEN
</b>          Yes sir, Monsieur Candie.
          Stephen limps away to the guest rooms, muttering to'himself.
          Lara Lee and her ever present shadow, a FAT MAMMY named CORA, comes up
          to her brother on his horse.

<b>                         CALVIN CANDIE
</b>          Dr.Schultz, this attractive southern belle
          is my widowed sister, may I present to you,
          Lara Lee Candie-Fitzwilly.
          Lara Lee does a southern lady bow.
          Dr.Schultz lifts his bowler hat, and nods in a grand manner.
          Dr.SCHULTZ
          I am Dr.King Schultz, this is my 2nd
          Django,
          (Django tips his hat)
          and these are our horses, Fritz and Tony.
          Both Fritz and Tony do the head bow.

                         

                         

                         

                         
          Dr.SCHULTZ
          And it is our great delight to encounter
          this flaming rose.

<b>                         LARA LEE
</b>          Well aren't you the charming gentlemen.
          You're not from around here, are you?
          Dr.SCHULTZ
          Actually I'm from a far off land,
          Dusseldorf, to be exact.

<b>                         CALVIN CANDIE
</b>          These two are in the market for a fightin'
          nigger. So I thought I'd invite 'em down,
          show 'em my stock.

<b>                         LARA LEE
</b>          We'll all have dinner tonight, right?

<b>                         CALVIN CANDIE
</b>          Half the reason I invited them. I thought
          you'd find.them as intriguing as I do
          little sister.
          Lara Lee looks up at Django, and smiles.
          All of a sudden THREE WHITE RIDERS ride up on horses, a older one, and
          two tough looking younger ones. The'older one is the Cap't of the
          Overseers, ACE WOODY, and his two assistants BROWN and JINGLE BELLS
          CODY. While Ace is dressed for work on a farm, both Brown and Jingle
          Bells Cody are peacocks who wear cool cowboy outfits.
          As Calvin Candie watches the three riders approach, he turns to
          Dr.Schultz and Django, and says;

<b>                         CALVIN CANDIE
</b>          You know since I started fightin' niggers
          about eleven years ago, it's been a new
          lease on'life. And the man ridin' up here
          now is the man responsible for all my
          success.
          Ace and his boys pull their horses up, kicking up dust.
          Through the dust Ace, Brown, and Jingle Bells Cody eyeball Django and
          Schultz.

<b>                         CALVIN CANDIE
</b>          Howdy Ace.

<b>                         (TO SCHULTZ
</b>
<b>                         AND DJANGO)
</b>          This here is my Overseer .Cap't, and
          nigger fight trainer extraordinaire,
          Ace Woody.

                         

                         

                         

                         

<b>                         915
</b>          Pointing at the two shadows that flank Ace Woody.

<b>                         CALVIN CANDIE
</b>          And that's Brown and that's Jingle Bells
          Cody.

<b>                         (TO ACE)
</b>          Ace, this here is Dr.Ring Schultz, and
          Django Freeman, they're big customers with
          big pockets wanna buy a big nigger. 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.

<b>                         ACE WOODY
</b>          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.

<b>                         ACE WOODY
</b>          These the new chickens?

<b>                         CALVIN CANDIE
</b>          Yes siree bob.

<b>                         ACE WOODY
</b>          How many you get?

<b>                         (HE COUNTS)
</b>          One, two, three, four, five.

<b>                         CALVIN CANDIE
</b>          Five real strong bucks.

<b>                         ACE WOODY
</b>          How many you get rid of?

<b>                         CALVIN CANDIE
</b>          We still got three left.
          Ace looks to see who came back from the auction.
          Leo Moguy chimes in;

<b>                         MOGUY
</b>          I already wired the LeQuint Dickey people,
          they'll be here tomorrow.
          Ace turns to Brown.

                         

                         

                         

                         

<b>                         ACE WOODY
</b>          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.

<b>                         ACE WOODY
</b>          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;

<b>                         CALVIN CANDIE
</b>          What do you think?

<b>                         ACE WOODY
</b>          I think you lookin' for niggers to push
          a plow, 'dem your boys.
          Candie rolls his eyes.

<b>                         CALVIN CANDIE
</b>          What's wrong with them?

<b>                         ACE WOODY
</b>          Hold it...hold it, you done bought
          r em, let me look at 'em.
          Unimpressed Ace Woody continues to examine them.

<b>                         ACE WOODY
</b>          Okay, how 'bout that one, did you
          buy that one?

<b>                         CALVIN CANDIE
</b>          Which one?

<b>                         ACE WOODY
</b>          What you mean, which one? The one I'm
          pointing at, that one.

                         

                         

                         

                         

<b>                         77
</b>
<b>                         CALVIN CANDIE
</b>          Actually, that one was purchased by
          our mister Moguy.

<b>                         ACE WOODY
</b>
<b>                         (TO MOGUY)
</b>          You bought him?

<b>                         MOGUY
</b>          Yes I did.

<b>                         ACE WOODY
</b>          Why?

<b>                         MOGUY
</b>          I like his prospects.

<b>                         ACE WOODY
</b>          His prospects? Now you know Mr..Moguy,
          I ain't a educated fella like yourself.
          Remind me again what prospects means?

<b>                         MOGUY
</b>          Hope for the future.
          Jerking a thumb towards the slave in question.

<b>                         ACE WOODY
</b>          You got hope for his future?

<b>                         MOGUY
</b>          I did.

<b>                         ACE WOODY
</b>          Well I don't.
          Ace walks over to the slave in question.

<b>                         ACE WOODY
</b>          What's your name, boy?
          The mandingo says;

<b>                         SIDNEY JAMES
</b>          Sidney James, sir.

<b>                         ACE WOODY
</b>          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.

<b>                         ACE WOODY
</b>          Boss Candie, which one did you buy?

<b>                         CALVIN CANDIE
</b>          Well to me the pick of the litter is
          Big Fred over there.

<b>                         ACE WOODY
</b>
<b>                         (POINTING AT
</b>
<b>                         FRED)
</b>          This one over here?

<b>                         CALVIN CANDIE
</b>          Yes.

<b>                         ACE WOODY
</b>
<b>                         (TO FRED)
</b>          You Fred?
          A very scared Fred answers.

<b>                         BIG FRED
</b>          Yes, sir.

<b>                         ACE WOODY
</b>          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?

<b>                         CALVIN CANDIE
</b>          I had 'em fight one of Amerigo's niggers
          last night.

<b>                         'ACE WOODY
</b>          How is of Amerigo?

<b>                         CALVIN CANDIE
</b>          His nigger lost.

                         

                         

                         

                         

<b>                         99
</b>
<b>                         ACE WOODY
</b>
<b>                         (TO FRED)
</b>          Really? You won?

<b>                         BIG FRED
</b>          Yes, sir.

<b>                         ACE WOODY
</b>          Wup'ed his ass?

<b>                         CALVIN CANDIE
</b>          Beat 'em to death.
          Smiling impressively at Big Fred.

<b>                         ACE WOODY
</b>
<b>                         (TO FRED)
</b>          Really?

<b>                         CALVIN CANDIE
</b>          He did have fifteen pounds on 'em,
          but still, he still beat his ass
          to death.

<b>                         ACE WOODY
</b>
<b>                         (TO FRED)
</b>          You did?

<b>                         BIG FRED)
</b>          Yes, sir.

<b>                         ACE WOODY
</b>          Good job, boy. Got any more wins in ya?

<b>                         BIG FRED
</b>          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.

<b>                         CALVIN CANDIE
</b>          Now why did you do that?

<b>                         ACE WOODY
</b>          He won his last fight last night.
          Ace puts his eyes on the three remaining mandingos

                         

                         

                         

                         

<b>                         1 00
</b>
<b>                         ACE WOODY
</b>
<b>                         (TO MANDINGOS)
</b>          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.

<b>                         ACE WOODY
</b>          Run 'em over to the Arena. Git 'em doin
          push ups. First one gives out, shoot 'em
          in the head.

<b>                         (TO MANDINGOS)
</b>          Welcome to Candyland, boys!
          Cody runs the terrified mandingos to the arena.
          Candie leans over to Schultz and says;

<b>                         CALVIN CANDLE
</b>          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.

<b>                         CALVIN CANDIE
</b>          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;

<b>                         ACE WOODY
</b>          Oh you know I always trust your judgement,
          Boss Candie...eventually.
          He rides off.
          Stephen limps back to the action.

<b>                         CALVIN CANDIE
</b>          Ahhh, Stephen my boy, rooms ready?

<b>                         STEPHEN
</b>          All ready for your guest and his nigger.
          Candie'shakes his head in mock frustration.

<b>                         CALVIN CANDIE
</b>          Stephen, you're incorrigible.

<b>                         (TO SCHULTZ
</b>
<b>                         AND DJANGO)
</b>          Gentlemen, let Stephen show you to your
          rooms.

                         

                         

                         

                         

<b>                         /O+
</b>
<b>                         CALVIN CANDLE
</b>
<b>                         (CON'T)
</b>          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.

<b>                         CALVIN CANDIE
</b>          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.

<b>                         DJANGO
</b>          That's Fritz, this is Tony. You take good
          care of 'em now.

<b>                         TIMMY
</b>          Yes, sir.
          Django takes an apple out of his saddle bag, and hands it to the boy.

<b>                         DJANGO
</b>          Once he's in the stable, give 'em that.
          He reaches back in the saddle and pulls out another one.

<b>                         DJANGO
</b>          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 nigger girl we were talking about?

<b>                         CALVIN CANDIE
</b>          Nigger girl?
          Dr.SCHULTZ
          I believe you said she spoke German?

<b>                         CALVIN CANDIE
</b>          Oh Yes, Hildi, what about her?

                         

                         

                         

                         
          ,oz.
          Dr.SCHULTZ
          Do you think before the demonstration you
          could send her around to my room?

<b>                         CALVIN CANDIE
</b>          I don't see why not.

<b>                         (TO STEPHEN)
</b>          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.

<b>                         STEPHEN
</b>          Actually... . Monsieur Candie... . there's
           somethin' we ain't tole you yet.

<b>                         CALVIN CANDIE
</b>          What?

<b>                         STEPHEN
</b>          Hildi's in The Hot Box.
          This gets Django's, Schultz's, and Candie's attention.

<b>                         CALVIN CANDIE
</b>          What's she doin' there?

<b>                         STEPHEN
</b>          What 'cha think she doin' in The Hot Box,
          she bein punished.

<b>                         CALVIN CANDIE
</b>          What she do?

<b>                         STEPHEN
</b>          She ran away again.

<b>                         CALVIN CANDIE
</b>          Jesus Christ, how many people ran away
          when I was gone?

<b>                         STEPHEN
</b>          Two.

<b>                         CALVIN CANDIE
</b>          When did she go?

<b>                         STEPHEN
</b>          Last night. They brought her back this
          morning.

                         

                         

                         

                         

<b>                         CALVIN CANDLE
</b>          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
          motherfuckers right now.

<b>                         STEPHEN
</b>          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.

<b>                         CALVIN CANDIE
</b>          How long she been in the box?

<b>                         STEPHEN
</b>          What'cha think, all goddamn day! Little
          fool got ten more days to go.

<b>                         CALVIN CANDLE
</b>          Take her out.

<b>                         STEPHEN
</b>
<b>                         (INCREDULOUS)
</b>          Take her out? Why!

<b>                         CALVIN CANDLE
</b>          Because I said so, that's why. Hildi is
          my nigger. Dr.Schultz is my guest. Southern
          hospitality dictates I make her available
          to him.

<b>                         STEPHEN
</b>          But Monsieur Candie, she just ran away?

<b>                         CALVIN CANDLE
</b>          Jesus Christ Stephen, what's the point of
          havin' a nigger 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

<b>                         LARA LEE)
</b>          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.

<b>          WHEN ...
</b>          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.

<b>          REVENGE MUSIC PLAYS
</b>          as we move into a Sergio Leone CU of DJANGO'S FACE.
          Stephen breaks the mood.

<b>                         STEPHEN
</b>
<b>                         (TO DJANGO)
</b>          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.

<b>          INT - THE BIG HOUSE - DAY
</b>          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.

<b>          INT - DJANGO'S GUEST ROOM - DAY
</b>          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.

                         

                         

                         

                         

<b>                         105
</b>
<b>                         STEPHEN
</b>          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.

<b>                         STEPHEN
</b>          Feel free to touch anything you want,
          cause we burnin' all this shit 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.

<b>                         DJANGO
</b>          Not so fast.

<b>                         STEPHEN
</b>          I got more important things to do then
          jaw with you.

<b>                         DJANGO
</b>          Nigger, when I say stop you plant roots.
          Both the words and the tone stop Stephen dead. He turns around.

<b>                         DJANGO
</b>          This tiny bell on this little table...
          .is this for you? I ring this, you
          do fer me?

<b>                         STEPHEN
</b>          Me or somebody.
          Django reaches over and picks up the bell.
          (a soft) DING-A-LING

<b>                         STEPHEN
</b>
<b>                         (UNAMUSED)
</b>          What 'cha want?

<b>                         DJANGO
</b>          I want you to pour some water in that
          bowl for my wash up.
          Stephen does what he's told, but with attitude.

                         

                         

                         

                         

<b>                         )O'
</b>          Django shuts the guest room door so the two men are alone.
          Once Stephen's done, Django stands up from the bed.

<b>                         DJANGO
</b>          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.

<b>                         DJANGO
</b>          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;

<b>                         DJANGO
</b>          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.

<b>                         DJANGO
</b>          I've known me House Niggers 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 niggas 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 motherfuckin 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 nigga on this plantation. And after
          I do that, let's see you play the rooster
          round here.

                         

                         

                         

                         

<b>                         X07
</b>
<b>                         STEPHEN
</b>          Calvin wouldn't. let you do it.

<b>                         DJANGO
</b>          Oh that's right, he gives you first name
          privileges... . ain't that cute. Sass me
          me again nigger, see what happen'.
          Stephen lying on the floor, bites his tongue.

<b>                         DJANGO
</b>          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;,

<b>                         DJANGO
</b>          When I ring this bell, you better come
          a runnin'. You - not nobody else. While
          I'm on this property, you my nigger
          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.

<b>                         DJANGO
</b>          He ain't tellin' nobody 'bout that.
          That's all that needs to be said.

<b>          INT - HALLWAY (BIG HOUSE) - DAY
</b>           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.

                         

                         

                         

                         

<b>                         DOG
</b>
<b>                         LARA LEE
</b>          Dr.Schultz, may I introduce to you,
          Hildi. Hildi, this is Dr.Schultz, he
          speaks German.
          Dr.SCHULTZ

<b>                         (TO BROOMHILDA)
</b>          I've been informed you do as well.

<b>                         BROOMHILDA
</b>
<b>                         (GERMAN)
</b>          It would be my, pleasure to speak with you
          in German.
          Schultz acts for the benefit of Miss Lara's astonishment.
          Dr.SCHULTZ
          Astonishing.

<b>                         (IN GERMAN)
</b>          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.

<b>          INT - SCHULTZ'S GUEST ROOM (BIG HOUSE) - LATE AFTERNOON
</b>          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?

<b>                         BROOMHILDA
</b>          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.

                         

                         

                         

                         

<b>                         107
</b>
<b>          WE CUT TO DJANGO
</b>          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

<b>                         (GERMAN)
</b>          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

<b>                         (GERMAN)
</b>          Please drink.
          She absentmindedly obeys.
          Dr.SCHULTZ

<b>          (.GERMAN).
</b>          Now it's myself and our mutual friend's
          intention to take you away from here
          forever.

<b>                         BROOMHILDA
</b>
<b>                         (GERMAN)
</b>          I don't got any friends.
          Dr.SCHULTZ

<b>                         (GERMAN)
</b>          Yes you do.

<b>                         BROOMHILDA
</b>
<b>                         (GERMAN)
</b>          Who?
          Dr.SCHULTZ

<b>                         (GERMAN)
</b>          I can't tell you. Our mutual friend has a
          flair for the dramatic, and he wants to
          surprise you.

                         

                         

                         

                         

<b>          !!0
</b>
<b>                         BROOMHILDA
</b>
<b>                         (GERMAN)
</b>          Where is he?
          He points at the adjoining door.
          Dr.SCHULTZ

<b>                         (GERMAN)
</b>          Standing right behind that door.
          Her head moves in the direction of the door.
          He looks to the young woman;
          Dr.SCHULTZ

<b>                         (GERMAN)
</b>          Promise me you won't scream?
          She nods her head, yes.
          Dr.SCHULTZ

<b>                         (GERMAN)
</b>          Say, I promise.

<b>                         BROOMHILDA
</b>
<b>                         (GERMAN)
</b>          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;

<b>                          DJANGO
</b>           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.

                         

                         

                         

                         

<b>                         1/1
</b>          The two men look at the woman on the floor, then at each other;
          Dr.SCHULTZ
          You silver tongued devil you.

<b>                         MONTAGE
</b>          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.

<b>          DISSOLVE TO BROOMHILDA SETTING THE DINNER TABLE
</b>          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.

<b>                         STEPHEN
</b>          What you. whistlin', girl?
          Broomhilda stops whistling and spins surprised in Stephen's direction.

<b>                         STEPHEN
</b>          What was you whistlin'?

<b>                         BROOMHILDA
</b>          Oh nuttin'.

<b>                         STEPHEN
</b>          You weren't whistlin' nothin', you were
          whistlin' somethin'. What'cha whistlin'?

<b>                         BROOMHILDA
</b>          I dunno. Somethin' I heard. I don't know
          no.name.

                         

                         

                         

                         

<b>                         )/Z
</b>
<b>                         STEPHEN
</b>          It's kinder pretty.
          She doesn't say anything in return.

<b>                         STEPHEN
</b>          That was a compliment.

<b>                         BROOMHILDA
</b>          Thank you.
          Stephen steps out of the shadows into the light closer to Broomhilda.

<b>                         STEPHEN
</b>          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.

<b>                         BROOMHILDA
</b>          I'm done here, may I be excused?

<b>                         STEPHEN
</b>          Yes you may.
          She moves off to another part of the house.
          He watches her shuffle off.

<b>          INT - DINING ROOM (BIG HOUSE) - NIGHT
</b>          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.

                         

                         

                         

                         

<b>          "5.
</b>          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?

<b>                         CALVIN CANDIE
</b>          Oh you never know how these nigger 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.

<b>                         CALVIN CANDIE
</b>          All three are champions.
          Django contradicts, as he chews his steak;

<b>                         DJANGO
</b>          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.

<b>                         LARA LEE
</b>          Hildi!
          Broomhilda snaps back.
          Instead of getting angry, Candle seems to reflect on that analysis,
          then issues his own appraisal;

<b>                         CALVIN CANDIE
</b>          Can Eskimo Joe whip Sampson, no. Can he
          take Goldie, probably not - Goldie's the
          best dirty fightin' nigger I ever saw. But as
          long as you don't put 'em up against those
          two., Eskimo Joe will whip any niggers ass.

<b>                         DJANGO
</b>          Maybe.
          The Domestics FREEZE for a jerky second when Django says that.

                         

                         

                         

                         

<b>                         //
</b>
<b>                         F
</b>          Dr.SCHULTZ
          You must understand, Monsieur Candie, while
          admittedly a .neophyte in the nigger 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 nigger.
          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 nigger." Now I'm not saying
          Eskimo Joe is the wrong nigger - 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;

<b>                         CALVIN CANDIE
</b>          Dr.Schultz, i will have you know, there
          is no one in the nigger 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 nigger fight game.

<b>                         (BEAT)
</b>          A nigger 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.

<b>                         CALVIN CANDIE
</b>          I see you two gettin' on?
          Dr.Schultz breaks into a wide grin;
          Dr.SCHULTZ
          .Famously.

<b>                         (DRAMATIC PAUSE)
</b>          Monsieur Candie, you can't imagine what
          it's like not to hear you native tongue
          for four years.

<b>                         CALVIN CANDIE
</b>          Hell, I can't imagine two weeks in Boston.

                         

                         

                         

                         

<b>                         Â»5
</b>          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.

<b>                         LARA LEE
</b>          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.

<b>          AND ...
</b>          .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.

<b>                         CALVIN CANDIE
</b>          Stephen, you're amazing. I haven't finished
          a drink in this house in twenty years.

<b>                         STEPHEN
</b>          When a man likes a cold drink, a man likes
          a COLD drink.
          Chuckle... . chuckle...

<b>                         CALVIN CANDIE
</b>          Did you overhear that joke I said about
          me spending two weeks in Boston

<b>                         STEPHEN
</b>
<b>                         (MOCK INDIGNANT)
</b>          You don't have any idea the work I do
          to see food gets on the table.

                         

                         

                         

                         

<b>                         1/6
</b>
<b>                         CALVIN CANDIE
</b>          What does that hafta do with the price of
          Tea in China?

<b>                         STEPHEN
</b>          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...

<b>                         CALVIN CANDIE
</b>
<b>                         (MOCK INDIGNATION)
</b>          What? They laughed!

<b>                         STEPHEN
</b>          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.

<b>                         CALVIN CANDIE
</b>          No it was really funny,

<b>                         (TO TABLE)
</b>          wasn't it?

<b>                         STEPHEN
</b>          Now what do you expect these people to
          say? What you need to do is stop
          embarrassing your guest.

<b>                         (TO TABLE)
</b>          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.

<b>          TNT - KITCHEN (BIG HOUSE) - NIGHT
</b>          Once Stephen enters the kitchen, his smile melts away, and he locks
          eyes on Broomhilda. He moves over to her.

<b>                         STEPHEN
</b>          You know that nigger?
          /ï¿½ She spins around.

                         

                         

                         

                         

<b>                         11 7
</b>
<b>                         BROOMHILDAÂ¢
</b>          Who?

<b>                         STEPHEN
</b>          Don't stall me bitch, you know who?

<b>                         BROOMHILDA
</b>          At the table? I don't know him.

<b>          STEPHEN.
</b>          You don't know him?

<b>                         BROOMHILDA
</b>          No.

<b>                         STEPHEN
</b>          You wouldn't lie to me now, would you?
          She shakes her head, no.
          Stephen looks at her skeptical.

<b>                         STEPHEN
</b>          Okay, if you say so.

<b>          BACK TO DINNER TABLE
</b>          Pick it up again in mid-negotiation.

<b>                         DJANGO
</b>          Eskimo Joe's a quality nigger, 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?

<b>                         DJANGO
</b>          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.

<b>                         MOGUY
</b>          But the real question is, not how much
          he cost, but how much he can earn?
          Dr.SCHULTZ
          Django?

<b>                         DJANGO
</b>          In a years time, seven or eight fights -
          outside of Mississippi - where his Candyland
          pedigree weren't well known - Virginia...

<b>                         (CON'T)
</b>
                         

                         

                         

                         

<b>                         11Y
</b>
<b>                         DJANGO
</b>
<b>                         (CON'T)
</b>          Georgia -- all goes well ...twenty to twenty
          one thousand dollars.

<b>                         CALVIN CANDIE
</b>          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 nigger. However let me reclarify
          how this whole negotiation came about.
          It wasn't me who came to you to sell a
          nigger, 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.

                         

                         

                         

                         

<b>                         117
</b>
<b>                         CALVIN CANDIE
</b>          Splendid.

<b>                         (CALLING TO
</b>
<b>                         THE KITCHEN)
</b>          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.

<b>                         BROOMHILDA
</b>          Can I take away your dishes, Monsieur Candle?

<b>                         CALVIN CANDIE
</b>          Yes you may, Hildi.
          She begins gathering the dirty dishes.
          Candie looks up at her as she works.

<b>                         CALVIN CANDIE
</b>          So Hildi, how you like servin at the big
          table in the big house?

<b>                         BROOMHILDA
</b>          I like it a lot Monsieur Candle.

<b>                         CALVIN CANDIE
</b>          It's a lot better then sizzling in that
          hot box, or draggin' your ass through a
          bramble bush, ain't it?

<b>                         BROOMHILDA
</b>          Yes 'em.
          With Candie interrogating Broomhilda, Django tenses up.
          Stephen clocks this.
          Stephen decides to test Django's reaction.

<b>                         STEPHEN
</b>          You know Monsieur Candle, the doctor might
          be interested in seein' Hildi's "peeled"
          back. Seein' as he don't see many niggers
          where he from.

<b>                         CALVIN CANDIE
</b>
<b>                         (TO SCHULTZ)
</b>          When you was alone with Hildi here, didja
          just speak German, or did ya git her
          clothes off?

                         

                         

                         

                         

<b>          !20
</b>          Dr.SCHULTZ
          We just spoke.

<b>                         CALVIN CANDIE
</b>          So you haven't seen her back?
          Dr.SCHULTZ
          No I haven't.

<b>                         CALVIN CANDIE
</b>          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.

<b>                         LARA LEE
</b>          Calvin, I just got her all dressed up
          and looking nice.

<b>                         CALVIN CANDIE
</b>          But Lara Lee, Dr.Schultz is from Dusseldorf,
          they don't got niggers there. And he's a
          man of medicine. I'm sure it would
          fascinate him, the niggers endurance for
          pain. I mean Hildi got something like
          fifteen lashes on her back. Lara Lee get
          one, she'd lose her mind. These niggers
          are tough, no doubt about it.

<b>                         LARA LEE
</b>          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.

<b>                         CALVIN CANDIE
</b>          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.

                         

                         

                         

                         

<b>                         121
</b>
<b>          INT - KITCHEN (BIG HOUSE) - NIGHT
</b>          In the kitchen with the OTHER DOMESTICS, Stephen says to Broomhilda;

<b>                         STEPHEN
</b>          I thought you said you didn't know him?
          Broomhilda turns around.

<b>                         BROOMHILDA
</b>          Huh?
          Stephen approaches her, the other Domestics get quiet and watch.

<b>                         STEPHEN
</b>          I said, you said, you didn't know him?

<b>                         BROOMHILDA
</b>          I don't.

<b>                         STEPHEN
</b>          Yes you do.

<b>                         BROOMHILDA
</b>          Mister Stephen, I don't.

<b>                         STEPHEN
</b>          Why you lyin to me?
          As tears begin to well in her eyes.

<b>                         BROOMBILDA
</b>          I ain't.

<b>                         STEPHEN
</b>          Why you cryin'?

<b>                         BROOMHILDA
</b>          Because you're scarin' me.

<b>                         STEPHEN
</b>          Why am I scarin' you?

<b>                         BROOMHILDA
</b>          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.

                         

                         

                         

                         

<b>                         1ZL
</b>          His eyes to to Broomhilda.

<b>                         STEPHEN
</b>          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.

<b>          INT - DINNER TABLE (BIG HOUSE) - NIGHT
</b>          Dr.SCHULTZ
          You indicated earlier you would be
          willing to part with Hildi?

<b>                         CALVIN CANDIE
</b>          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.

<b>                         STEPHEN
</b>          - Monsieur Candie?

<b>                         CALVIN CANDIE
</b>          Stephen, you just interrupted Dr.Schultz.

<b>                         STEPHEN
</b>          (to Dr.Schultz)
          Oh, I do apologize, doctor. My hearin'
          ain't worth a damn these days.

<b>                         (TO CANDIE)
</b>          Monsieur Candie, I need a word with you in
          the kitchen.

<b>                         CALVIN CANDIE
</b>          What, you mean get outta my chair?

<b>                         STEPHEN
</b>          If you could manage it. It's about dessert.

<b>                         CALVIN CANDIE
</b>          What about dessert?

<b>                         STEPHEN
</b>          I would rather tell you in private.

<b>                         CALVIN CANDIE
</b>          We're having rhubarb pie, what sort of
          melodrama could be brewing back there?

                         

                         

                         

                         

<b>                         123
</b>          Stephen bends down and whispers in his ear;

<b>                         STEPHEN
</b>          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.

<b>                         CALVIN CANDIE
</b>          Fine friend Stephen, I'll be along momentarily.
          Stephen exits.
          Candie stands up from his chair and addresses the table.

<b>                         CALVIN CANDIE
</b>          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.

<b>          TNT - LIBRARY (BIG HOUSE) - NIGHT
</b>          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.

<b>                         CALVIN CANDIE
</b>          What's the matter?

<b>                         STEPHEN
</b>          Those motherfuckers ain't here to buy no
          mandingos. They want that girl. -

<b>                         CALVIN CANDIE
</b>          What the hell you talkin' about?

<b>                         STEPHEN
</b>          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.

                         

                         

                         

                         

<b>                         CALVIN CANDIE
</b>          What girl, Hildi?

<b>                         STEPHEN
</b>          Yeah, Hildi. The niggers know each other.

<b>                         CALVIN CANDIE
</b>          He just bought Eskimo Joe.

<b>                         STEPHEN
</b>          Did he give you any money?

<b>                         CALVIN CANDIE
</b>          Well not yet, but -

<b>                         STEPHEN
</b>          - 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.

<b>                         CALVIN CANDIE
</b>          Where you gettin' all this? Why would they
          go through all that trouble, to. buy a
          nigger with a chewed up back, ain't worth
          five hundred dollars?

<b>                         STEPHEN
</b>          Well they're doin' it cause Django's in
          love with Hildi. She's probably his wife.
          Now why that German gives a fuck about
          who that uppity son-of-a--bitch is in love
          with, I'm sure I don't know.

<b>                         CALVIN CANDIE
</b>          If she's who they want, why the whole
          snake oil pitch about mandingos?

<b>                         STEPHEN
</b>          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.

<b>                         CALVIN CANDIE
</b>          Those lyin' goddamn.time wastin'
          sonsabitches!

<b>                         (LOUDER)
</b>          Sonsabitches! You just watch, I'm gonna
          fix their wagon but good! Stephen, we
          .gonna have us a Candyland tar and
          feathering!

                         

                         

                         

                         

<b>                         FL5
</b>
<b>                         STEPHEN
</b>          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.

<b>                         CALVIN CANDLE
</b>          I let a goddamn nigger and nigger lovin'
          huckster insinuate themselves at my
          dinner table, and play this whole goddamn
          plantation for a fool!

<b>                         STEPHEN
</b>          Calm-the-fuck-down, sit down, and let's
          discuss this.
          A frustrated Calvin finally collapses in the chair.

<b>                         STEPHEN
</b>          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 nigger, you
          wanna sell a nigger.The only thing done
          changed is the advantage.

<b>                         (BEAT)
</b>          Now we got it. .So let's go back in there
          and busts these motherfucker's chops.

<b>          INT - DINING ROOM (BIG HOUSE) - NIGHT
</b>           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

<b>                         SEEING HIM;
</b>
<b>                         LARA LEE
</b>          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.

<b>                         CALVIN CANDLE
</b>          That'd be a hellva note, wouldn't it
          Lara Lee?

<b>                         (CON'T)
</b>
                         

                         

                         

                         

<b>                         1Z J
</b>
<b>                         CALVIN CANDIE
</b>
<b>                         (CON'T)
</b>          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.

<b>                         CALVIN CANDIE
</b>          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.

<b>                         CALVIN CANDIE
</b>          Now lay your palms flat on the table top.
          They put their palms on the table.

<b>                         CALVIN CANDIE
</b>          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.

<b>                         (BEAT)
</b>          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.

<b>                         CALVIN CANDIE
</b>          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.

<b>                         CALVIN CANDIE
</b>
<b>                         (YELLING TO
</b>
<b>                         STEPHEN)
</b>          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.

<b>                         CALVIN CANDIE
</b>          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
          horseshit.

<b>                         (TO STEPHEN)
</b>          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.

<b>                         CALVIN CANDIE
</b>          Now the way I see it, ain't nothin' changed..
          You still wanna buy a nigger, I still wanna
          sell one. So, with that in mind, in Greenville,
          Dr.Schultz, you yourself said, "For the Right
          Nigger 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 Nigger."
          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.

<b>                         CALVIN CANDIE
</b>          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.

                         

                         

                         

                         

<b>                         IN
</b>
<b>                         CALVIN CANDIE
</b>          And if you think my price for this nigger
          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.

<b>                         CALVIN CANDIE
</b>          Put up or shut up, Schultz. You wanna save
          this nigger bitch, you gonna pay my price.
          Dr.SCHULTZ
          May I lift my hands from the table top in
          order to remove my billfold?

<b>                         CALVIN CANDIE
</b>          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;

<b>                         CALVIN CANDIE
</b>          Pleasure doin' business with you.

<b>                         TIME CUT
</b>
<b>          INT - DINING ROOM (BIG HOUSE) - NIGHT
</b>          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.

<b>                         CALVIN CANDIE
</b>
<b>                         (TO SCHULTZ)
</b>          Rhubarb pie?
          Schultz looks at the pie and the man.
          Dr.SCHULTZ
          No.

<b>                         CALVIN CANDIE
</b>          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.

<b>                         CALVIN CANDIE
</b>          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?

<b>                         CALVIN CANDIE
</b>          You doubt he'd approve?
          Dr.SCHULTZ
          Yes his approval would be a dubious proposition
          at best.

<b>                         CALVIN CANDIE
</b>          Soft hearted Frenchy?
          Dr.SCHULTZ
          Alexander Dumas is black.

                         

                         

                         

                         

<b>                         1 30
</b>          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.

<b>                         (TO CANDIE)
</b>          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;

<b>                         CALVIN CANDIE
</b>          One more moment, Doc!
          Dr.SCHULTZ
          What?

<b>                         CALVIN CANDIE
</b>          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.

<b>                         CALVIN CANDIE
</b>          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.

<b>                         CALVIN CANDIE
</b>          You know what I think you are?
          Dr.SCHULTZ
          What you think I am? No I don't.

                         

                         

                         

                         

<b>          1310,
</b>
<b>                         CALVIN CANDLE
</b>          I think you are a bad loser.
          Dr.SCHULTZ
          And I think you're an abysmal winner.

<b>                         CALVIN CANDLE
</b>          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 shit 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.

<b>                         CALVIN CANDIE
</b>          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

<b>                         CANDLE;
</b>          Dr.SCHULTZ.
          You really want me to shake your hand?
          Django gets it.

<b>                         CALVIN CANDIE
</b>          I insist.

<b>                         DR
</b>          -Schultz smiles.
          Dr.SCHULTZ
          Well, if you insist.
          Django goes to stop him...

                         

                         

                         

                         

<b>                         1 714
</b>          The German crosses toward Candie, offering him his hand...
          Candie offers his hand to Schultz...
          The small DERRINGER POPS into Schultz's outstretched hand...

<b>          POP!
</b>          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

<b>                         (TO DJANGO)
</b>          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.

<b>          FADE TO BLACK
</b>
                         

                         

                         

                         
          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.

<b>          INT - BARN - AFTERNOON
</b>          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 ...

<b>                         TIMMY
</b>
<b>                         (SHHH'S HIM)
</b>          Act like you still sleepin'.

<b>                         DJANGO
</b>          Where's Broomhilda?

<b>                         TIMMY
</b>          Who?

<b>                         DJANGO
</b>          Hildi, the slave girl that ran away a
          couple of days ago. They had her in The
          Hot Box.

<b>                         TIMMY
</b>          I don't know 'bout no girl.

<b>                         DJANGO
</b>          How 'bout that German white man I came
          here with?

<b>                         TIMMY
</b>          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.

<b>                         ACE WOODY
</b>          Git on outta here, boy!

                         

                         

                         

                         

<b>                         133
</b>          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.

<b>                         ACE WOODY
</b>          So y'all bounty hunters,.huh?
          Django thinks, "How does he know?"

<b>                         ACE WOODY
</b>          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.

<b>                         DJANGO
</b>          Well, it turns out I was a natural.
          Ace woody laughs.

<b>                         ACE WOODY
</b>          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.

<b>                         ACE WOODY
</b>          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.

<b>                         ACE WOODY
</b>          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;

                         

                         

                         

                         

<b>                         ACE WOODY
</b>          Now I understand you didn't really have
          nuttin' to do wit it. It's that German
          sunbitch the trouble maker. You just wanted
          to git your girl, and hightail your nigger
          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;

<b>                         ACE WOODY
</b>          Now when it comes to making a nigger 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 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.

<b>                         ACE WOODY
</b>          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.

<b>                         (BEAT)
</b>          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 fucked up my good thang.
          So when it comes to you, Django boy, you
          could say I gotta axe to grind.

                         

                         

                         

                         

<b>                         IJS
</b>          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.

<b>                         ACE WOODY
</b>          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 ...

<b>                         ACE WOODY
</b>          Yep nigger, I'm gonna snip them nuts.

<b>                         (BREATH)
</b>          On the count of three.

<b>                         DJANGO SCREAMS:
</b>
<b>                         DJANGO
</b>
<b>          NO!!!!
</b>
<b>                         ACE WOODY
</b>
<b>          ONE ...
</b>
<b>                         DJANGO
</b>
<b>          NO DON'T DO IT!!!!!
</b>
<b>                         ACE WOODY
</b>          Got to do it, boy. TWO...

<b>                         DJANGO
</b>
<b>          NO!!!! !
</b>          Just then Stephen appears in the entrance of the barn/blacksmith
          facility. He's holding Django's clothes in a bundle under his arm.

<b>                         STEPHEN
</b>          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;

<b>                         ACE WOODY
</b>          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.

<b>                         ACE WOODY
</b>
<b>                         (TO DJANGO)
</b>          How disappointing.

                         

                         

                         

                         

<b>                         171
</b>
<b>                         ACE WOODY
</b>
<b>                         (TO STEPHEN)
</b>          Where she at?

<b>                         STEPHEN
</b>          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.

<b>                         ACE WOODY
</b>          You gonna look after our friend?
          As, he plays with the poker in the fire, he says;

<b>                         STEPHEN
</b>          Oh yes sirree Bob, you know I am!
          01' Snowball and a certain naked ass
          upside down nigger 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

<b>          GLOWS ORANGE.
</b>
<b>                         STEPHEN
</b>          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.

<b>                         STEPHEN
</b>          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.

<b>                         (BREATH)
</b>          That was a good idea. I bet y'all couldn't
          believe how easy it was. You meet Moguy, he
          buys your horseshit. 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 motherfucking
          Big House.

                         

                         

                         

                         

<b>                         137
</b>
<b>                         STEPHEN
</b>
<b>                         (BEAT)
</b>          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 shit fucking hurts, so you best believe he screams his
          fucking ass off, and twists in agony when he gets touched by the orange
          tip of that red hot poker.

<b>                         STEPHEN
</b>          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.

<b>                         STEPHEN
</b>          Damn Nigger, you smell good.
          He walks behind Django with the poker.

<b>                         STEPHEN
</b>          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.

<b>                         STEPHEN
</b>          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.

                         

                         

                         

                         

<b>                         I31
</b>
<b>                         STEPHEN
</b>          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 fuckin
          wit your fun parts. But while that might SEEM
          like a good idea. Truth is, once ya snip a
          niggers nuts, most bleed out. Then I say;
          "Hells bells, the niggers we send to LeQuint
          Dickey, 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 shit all the time. Hells bells,
          the niggers we send to LeQuint Dickey got it
          worse then that."
          He stops massaging Django's balls.

<b>                         STEPHEN
</b>          So Miss Lara got the bright idea of givin'
          your ass 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 nigger like you,
          I give two or three.
          Stephen turns to leave.

<b>                         DJANGO
</b>          Where's Broomhilda?

<b>                         STEPHEN
</b>          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.

<b>                         CUT TO
</b>
                         

                         

                         

                         

<b>                         137
</b>
<b>          EXT - CANDYLAND - AFTERNOON
</b>          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 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.

<b>                         ROY
</b>          It's chaos 'round here. Some bastard shot
          the big boss. Let's git the niggers 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.

<b>                         FLOYD
</b>          You blacks line up.
          They do.

<b>                         FLOYD
</b>          What's your names?

<b>                         CHESTER
</b>          Chester.

<b>                         CHICKEN CHARLY
</b>          Chicken Charly.

<b>                         RODNEY
</b>          Rodney.

<b>                         FLOYD
</b>          I'm.Floyd, this is Roy, and that's Jano.

<b>                         (POINTING AT
</b>
<b>                         CHESTER'S BUNDLE)
</b>          What's that?

<b>                         CHESTER
</b>          It's my stuff.

<b>                         FLOYD
</b>          Throw it in the dirt.

                         

                         

                         

                         

<b>                         1 40
</b>          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.

<b>                         FLOYD
</b>          (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;

<b>          ACE WOODY (OS)
</b>          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.

<b>                         ROY
</b>          We can't use that skinny bastard.

<b>                         ACE WOODY
</b>          We got an arraignment with Mr.Dickey to take
          punishment niggers from time to time.

<b>                         ROY
</b>          No one tole' me 'bout no arraignment.

<b>                         ACE WOODY
</b>          Well if Mr.Dickey ain't takin' you into his
          confidence, I'm sure I don't know why.

<b>                         ROY
</b>          Look, no one tole' me 'bout -

<b>                         ACE WOODY
</b>          - No, you look peckawood, this nigger 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.Dickey
          how and why you fucked up our nice little
          business relationship, take this nigger and
          hush up about it!

<b>                         ROY
</b>          Fine, stick 'em in the goddamn cage.

                         

                         

                         

                         

<b>                         "H
</b>          Django sees the three mandingos in the cage. They see him too.
          Django stops Ace Woody.

<b>                         DJANGO
</b>          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-
          shit 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.

<b>                         ACE WOODY
</b>          He can't go in there with them.

<b>                         FLOYD
</b>          Why not?

<b>                         ACE WOODY
</b>          They'll kill him.

<b>                         FLOYD
</b>          I don't give a damn.

<b>                         ACE WOODY
</b>          Well we do! He killed the fuckin Boss Man,
          we want the mine to grind him to gravel!

<b>                         ROY
</b>          Jano, you're riclin' horses ass, you take this
          black and make sure he keeps up.

<b>                         JANO
</b>          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.

<b>          EXT - MISSISSIPPI COUNTRY ROAD - DAY
</b>          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.

                         

                         

                         

                         

<b>                         J42
</b>
<b>                         DJANGO
</b>
<b>                         (TO JANO)
</b>          Hey boy!
          Jano ignores him.

<b>                         DJANGO
</b>          I said, hey white boy!

<b>                         JANO
</b>          Keep your mouth shut black, you ain't got
          nothing to say I wanna hear.

<b>                         DJANGO
</b>          What's he pay you?

<b>                         JANO
</b>          Who?

<b>                         DJANGO
</b>          LeQuint Dickey?

<b>                         JANO
</b>          You gotta few more things to worry about
          black boy, then what I get paid.

<b>                         DJANGO
</b>          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?

<b>                         JANO
</b>          Yeah.

<b>                         DJANGO
</b>          And you work for The LeQuint Dickey Mining
          Company, dont'cha?

<b>                         JANO
</b>          Yeah?

<b>                         DJANGO
</b>          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?

<b>                         JANO
</b>          Look black, it don't work like that. Dickey
          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.

                         

                         

                         

                         

<b>                         I"
</b>
<b>                         DJANGO
</b>          How long you been here?

<b>                         JANO
</b>          'bout two years.

<b>                         DJANGO
</b>          And you ain't paid him back yet?

<b>                         JANO
</b>
<b>                         (DEFENSIVELY)
</b>          No, not yet!

<b>                         DJANGO
</b>
<b>                         (LAUGHS)
</b>          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...

<b>                         JANO
</b>
<b>                         (YELLING)
</b>          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;

<b>                         DJANGO
</b>          How'd you like to make eleven thousand
          dollars?

<b>                         JANO
</b>          What?
          Django steps closer to him.

<b>                         DJANGO
</b>          How would you like to make eleven thousand
          dollars -- eleven thousand five hundred,
          actually?
          Roy, in the lead, yells back to Jano;

<b>                         ROY
</b>          Goddamit Jano, stop fuckin with that black,
          and keep up!

<b>                         DJANGO
</b>          Keep riding, just ride slower.
          They move forward, with Django walking beside Jano on his horse.

                         

                         

                         

                         

<b>                         R44
</b>
<b>                         DJANGO
</b>          Back at that plantation Candyland, there
          was an eleven thousand five hundred dollar
          fortune just sittin there, and y'all rode
          right past it.

<b>                         JANO
</b>          You be damned, blackie. We're not bandits.

<b>                         DJANGO
</b>          That's what's nice about this fortune, it's
          not illegal. You can't steal it, ya gotta
          earn it.

<b>                         JANO
</b>          If you got something to say, say it.

<b>                         DJANGO
</b>          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.

<b>                         JANO
</b>          Who the fuck is Smitty Bacall?

<b>                         DJANGO
</b>          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.

<b>                         (BEAT)
</b>          But it don't hafta be that way. You and your
          mates could get that money.

<b>                         JANO
</b>          Who pays the money?

<b>                         DJANGO
</b>          The Court.

<b>                         JANO
</b>          The Court?

<b>                         DJANGO
</b>          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.

<b>                         (CON'T)
</b>
                         

                         

                         

                         

<b>                         DJANGO
</b>
<b>                         (CON'T)
</b>          Court doesn't care how you do it, just as
          long as you do it.

<b>                         JANO
</b>          They.pay us to kill 'em?

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

<b>                         JANO
</b>          I think so... . what did these jokers do again?

<b>                         DJANGO
</b>          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.

<b>                         JANO
</b>          What's this?

<b>                         DJANGO
</b>          I told you, it's the handbill for Smitty
          Bacall and The Bacall Gang.
          Jano looks at the handbill.

<b>                         DJANGO
</b>          Whatsamatter, can't you read?

<b>                         JANO
</b>          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 nigger run.

<b>                         DJANGO
</b>          What about that cowboy fella in the lead?

<b>                         JANO
</b>          Roy?

<b>                         DJANGO
</b>          Can Roy read?

<b>                         JANO
</b>          Look, get it straight black, I can fuckin
          read. I just don't got my glasses.

<b>                         CUT TO
</b>
                         

                         

                         

                         

<b>                         146
</b>          EXT -- BEAUTIFUL MISSISSIPPI COUNTRY TABLEAUX at DUSK
          The LeQuint Dickey Mining Co. Caravan has stopped, and pulled over to
          the side of the road.

<b>          IN THE CAGE
</b>          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.

<b>          INSERT: SMITTY BACALL'S WANTED DEAD OR ALIVE HANDBILL
</b>          Roy holds it in his hand as he reads and Django talks.

<b>                         DJANGO
</b>          I ain't no goddamn slave. Do I sound-like
          a fuckin 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.

<b>                         (TO ROY)
</b>          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.

<b>                         ROY
</b>          What's your deal? You tell us who they are
          and we let ya go?

<b>                         DJANGO
</b>          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 sonsabitches right on the hook...he just needs
          one little push.

                         

                         

                         

                         

<b>                         1Q7
</b>
<b>                         DJANGO
</b>          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?

<b>                         CUT TO
</b>
<b>          ROY AND FLOYD
</b>          go to the Cage Wagon to talk with the three mandingos. As they walk,
          Roy continues to study the handbill.

<b>                         ROY
</b>
<b>                         (READING ALOUD)
</b>          "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.

<b>                         FLOYD
</b>          Just because the handbill's real doesn't
          mean that other bunch of malarky.is.

<b>                         ROY
</b>          Why would a nigger slave have a wanted dead
          or alive handbill in his pocket?
          Floyd doesn't have an answer for that one.

<b>                         ROY
</b>          That black's damn convincing.
          They get to The Cage O'Men. Roy startles them with a direct question;

<b>                         ROY
</b>          (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, cocks back the hammer and points
          the barrel at the cage.

<b>                         ROY
</b>          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?

                         

                         

                         

                         

<b>                         CHESTER
</b>          Yeah. They walked us from the Greenville
          Auction and he rode on a horse with a
          white man.

<b>                         ROY
</b>          This white man, was the black his slave?

<b>                         RODNEY
</b>          He weren't no slave.

<b>                         FLOYD
</b>          You sure about that?

<b>                         RODNEY
</b>          Damn sure.
          Roy starts taking the possibility of an eleven thousand dollar windfall
          seriously.

<b>                         ROY
</b>          What happened at Candyland?

<b>                         CHICKEN CHARLY
</b>          Bunch of shootin, master got shot.

<b>                         ROY
</b>          Who shot 'em?

<b>                         CHICKEN CHARLY
</b>          The German.

<b>                         ROY
</b>          And why did he do that?

<b>                         CHICKEN CHARLY
</b>          The nigger and the German were actin as if they
          were slavers, but they weren't.

<b>                         ROY
</b>          What were they?

<b>                         RODNEY
</b>          Bounty hunters.
          Floyd is starting to get convinced.

<b>                         FLOYD
</b>          Goddamn Roy, this could be big.
          (to the Slaves)
          Do you know who Smitty Bacall is?

                         

                         

                         

                         

<b>          !Y,
</b>
<b>                         ROY
</b>          (barking at Floyd)
          They wouldn't go by their outlaw names
          you idiot!

<b>                         CUT TO
</b>          Roy and Floyd walk back to Django and Jano.

<b>                         ROY
</b>          Okay black, you gotta deal.
          Jano reacts.

<b>                         DJANGO
</b>          I got one more condition.

<b>                         ROY
</b>          What?

<b>                         DJANGO
</b>          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.

<b>                         ROY
</b>
<b>                         (LAUGHING)
</b>          You got a deal, black.
          Django interrupts -

<b>                         DJANGO
</b>          You gotta deal, mate.
          Roy really laughs this time. As does Django and the other two Aussies.

<b>                         ROY
</b>          You're all right for a black fella!

<b>                         THE CAGE
</b>          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 Nigger?"

<b>          BACK WITH THE LAUGHING QUARTET
</b>
<b>                         ROY
</b>          We'll give you that pack horse.

<b>                         DJANGO
</b>          What's them saddle bags filled with?

<b>                         FLOYD
</b>          Dynamite.

                         

                         

                         

                         
          !so

<b>                         DJANGO
</b>          I.ain't ridin no horse with no goddamn
          dynamite on his back!

<b>                         ROY
</b>
<b>                         (CHUCKLE CHUCKLE)
</b>          Yeah, I can see why. Jano take those sticks
          off that horse, and stick 'em in the nigger
          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;

<b>                         DJANGO
</b>          Where's my pistol?

<b>                         ROY
</b>          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;

<b>                         FLOYD
</b>          Now don't drop it now. I just had the sights
          fixed last month, it's perfect.
          Django holding the gunbelt in his hand.

<b>                         DJANGO
</b>          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...

<b>          THEN ...
</b>          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...

<b>          .THEN...
</b>          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;

<b>                         DJANGO
</b>          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 nigger?"

<b>                         CUT TO
</b>
                         

                         

                         

                         
          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.

<b>                         CORA
</b>          The sky's real pretty Miss Lara. Monsieur
          Candie think it real nice.

<b>                         LARA LEE
</b>          Ah, bless you sweet innocent Cora.

<b>          WE CROSS CUT WITH SHOTS
</b>          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.

<b>          EXT - TRACKER SHACK/BUNKHOUSE - SUNSET
</b>          The same GORGEOUS SUNSET SKY over the same shitty 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.

<b>          INT - TRACKER SHACK - SUNSET
</b>          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, "NIGGER 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.

<b>          EXT - WOODS-OUTSIDE THE SHACK - SUNSET
</b>          INSERT: HORSE HOOFS walking then stopping. Django's bare feet jump on
          to the ground.

                         

                         

                         

                         

<b>                         IS3
</b>
<b>          INT - DOG KENNEL - SUNSET
</b>          The FOUR DOGS lay out... . when, Marsha hears something, and raises her
          head...

<b>                         SHIRTLESS DJANGO
</b>          moves quietly through the woods.

<b>                         MARSHA
</b>          rises to all fours, to listen and smell. out in the darkness, her three
          PALS continue to lay out.

<b>          DJANGO BY A TREE
</b>          he can see the bunkhouse entrance, the LONG HANDLE AXE buried in the
          chopping block, the kennel, and the one dog looking his way.

<b>                         MARSHA
</b>
<b>          BARK!
</b>          The Other Three Dogs wake up, and go on alert.
          Django disappears.

<b>          INT - TRACKER SHACK - SUNSET
</b>          They hear the barking inside.
          Mr.STONESIPHER
          Jake!
          Jake building his birdhouse.

<b>                         JAKE
</b>          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).

<b>          EXT - TRACKER SHACK
</b>          As the BARKING gets louder, WE SEE A CLOSE UP of The Axe in the
          chopping block, and Django's hand REMOVING IT.

<b>                         JAKE
</b>          opens the bunkhouse door-he sees directly a hundred feet in front of
          him, Django standing there with the axe. Just as he reacts...

<b>          DJANGO ... . THROWS THE AXE...
</b>
<b>          JAKE ... . IT HITS HIM IN THE FACE.
</b>
                         

                         

                         

                         
          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 motherfuckers, 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

<b>          STONESIPHER'S HEAD.
</b>          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.

                         

                         

                         

                         

<b>          EXT - TRACKER SHACK - NIGHT
</b>          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;

<b>                         DJANGO
</b>          What ya doin around here, boy?
          Timmy steps from his watching place in the bushes.

<b>                         TIMMY
</b>          I was just walkin' by.

<b>                         DJANGO
</b>          Wanna help me out?

<b>                         TIMMY
</b>          Sure.

<b>                         DJANGO
</b>          My woman, Hildi, is with Billy Crash.
          You know where his shack is?

<b>                         TIMMY
</b>          Sure do.

<b>                         DJANGO
</b>          You show me?

<b>                         TIMMY
</b>          Will I get in trouble?

<b>                         DJANGO
</b>          Not by the time I get through killin'
          everybody.
          Timmy has never heard a black man talk like that. He believes him.

<b>                         TIMMY
</b>          I'll show ya.

<b>          THEN ...
</b>          Django turns towards the barking dogs. He turns back to Timmy and asks;

<b>                         DJANGO
</b>          You know what toadstools look like?

                         

                         

                         

                         

<b>                         15-C
</b>
<b>                         TIMMY
</b>          Sure do.

<b>                         DJANGO
</b>          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.

<b>          EXT - MARSHA'S KENNEL - NIGHT
</b>          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.

<b>                         DJANGO
</b>          You bit your last nigger, bitch? Bite on that.
          Django lifts Timmy up on to the bare backed wagon horse.

<b>                         DJANGO
</b>          First things first, boy. Take me to my horse.

<b>          EXT - FUNERAL NIGHT
</b>          The funeral is in full melodramatic bore.

<b>          TNT - STABLE-BLACKSMITH - NIGHT
</b>          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.

<b>                         DJANGO
</b>          Saddle up Fritz and Tony.

                         

                         

                         

                         
          Timmy just stares.

<b>                         DJANGO
</b>          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;

<b>                         TIMMY
</b>          Do you feel bad for your friend?
          Django rises from the body of his friend.

<b>                         DJANGO
</b>          Yeah, "I do.
          As Timmy saddles the horses he says;

<b>                         TIMMY
</b>          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.

<b>          INT - BILLY CRASH'S SHACK - NIGHT
</b>          Billy Crash is in bed fucking Broomhilda. She doesn't wail, she doesn't
          make any whimpering sounds, but her eyes constantly water.
          As Billy's fucking her he says;

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

<b>                         (CON'T)
</b>
                         

                         

                         

                         

<b>                         'SR
</b>
<b>                         BILLY CRASH
</b>
<b>                         (FUCKS)
</b>          Would you stop your galdarn cryin'!
          He stops fucking in frustration

<b>                         BROOMHILDA
</b>          I can't.

<b>                         BILLY CRASH
</b>          Now girl, I'm tryin' to be nice.

<b>                         BROOMHILDA
</b>          I can't help it! I'm really sad!
          He hops off her and yells at her.

<b>                         BILLY CRASH
</b>          Well goddamit, you're a nigger! Life is sad
          for niggers! Git use to it!

<b>                         (CALMING DOWN)
</b>          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 shit.
          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...

<b>          .THEN...
</b>          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.

<b>                         CU BROOMHILDA
</b>          Her face, stained with tears, watches the door.
          A soft "Knock Knock" on the door.

<b>                         BROOMHILDA
</b>
<b>                         (SOFTLY)
</b>          Yes?
          The VOICE on the other side of the door, says;

<b>          DJANGO'S VOICE (OS)
</b>          Hey Little Trouble Maker.

                         

                         

                         

                         

<b>                         157
</b>          She hops out of bed, and throws open the door...

<b>          THERE HE IS,
</b>          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.

<b>          EXT - BILLY CRASH'S SHACK - NIGHT
</b>          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.

<b>                         DJANGO
</b>          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.

<b>                         BROOMHILDA
</b>          What's gonna happen to you?

<b>                         DJANGO
</b>          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.

<b>                         BROOMHILDA
</b>          But what about you -

<b>                         DJANGO
</b>          - 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.

                         

                         

                         

                         

<b>                         (60
</b>          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 Nigger 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 peacocks, 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...

<b>          WHEN ...
</b>          The front of The Big House

<b>          EXPLODES!
</b>          knocking the.Candie Family Unit flat on their collective asses.
          BROOMHILDA and TIMMY
          can't believe their eyes.

                         

                         

                         

                         

<b>                         I6 I
</b>
<b>          WOOD - STONE - PLASTER - DIRT - DUST - GLASS - SMOKE - GUNPOWDER
</b>          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

<b>          OUTFIT.
</b>          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.

                         

                         

                         

                         

<b>                         ICZ
</b>
<b>          WE MOVE INTO A ROMANTIC CLOSE UP OF BROOMHILDA
</b>          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;

<b>                         DJANGO
</b>          I bet I.know what you're thinkin', Ace Woody?
          You'.re thinkin', why didn't I'cut off that
          niggers nuts when .1 had the'chance? Right?

<b>                         ACE WOODY
</b>          I guess I shoulda'.

<b>                         DJANGO
</b>          Yes you should of.
          He points the Winchester at the people spread out on the grass.

<b>                         DJANGO
</b>          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.

<b>          THEN...
</b>          He tosses the rifle away.
          Then moves his right hand by his gun belt in his holster, as he takes a

<b>          SHOWDOWN STANCE.
</b>          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;

<b>                         DJANGO
</b>          All black folks, take ten steps away from
          the white folks.
          DJANGO's eyes go to STEPHEN, who looks back at him.

<b>                         DJANGO
</b>          Not you Stephen. You're right where you
          belong.

                         

                         

                         

                         

<b>                         163
</b>          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 nigger."
          DJANGO looks to STEPHEN, and takes Schultz's hidden Derringer out of
          his pocket.

<b>                         DJANGO
</b>
<b>                         (TO STEPHEN)
</b>          Let's see if you can handle this as well
          as you can my nuts?
          He tosses the Ole Man the tiny gun.

<b>                         DJANGO
</b>
<b>                         (TO EVERYBODY)
</b>          Somebody give Miss Lara a gun.
          BROWN gives LARA LEE one. of his two guns.

<b>                         BROWN
</b>
<b>                         (TO DJANGO)
</b>          Can I at least cock it for her?

<b>                         DJANGO
</b>          Yep.
          BROWN cocks back the hammer of the peacemaker, and puts it in her hand,
          and points it towards the ground.

<b>                         BROWN
</b>          (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.

<b>                         DJANGO
</b>          (to the six)
          Make your play hillbillies.
          The MUSIC SWELLS.

                         

                         

                         

                         

<b>                         16'F
</b>          EVERYBODY, except for LARA LEE is READY:

<b>          DJANGO ACE WOODY
</b>
<b>                         STEPHEN MOGUY
</b>
<b>                         BROWN CODY
</b>
<b>                          LARA LEE
</b>          The PEOPLE watching on the side:

<b>          BARTHOLOMEW SAMSON BROOMHILDA
</b>
<b>          CORA GOLDIE TIMMY
</b>          EVERYONE'S ready, but no one wants to start this party...

<b>          TILL...
</b>          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.

<b>                         FLASH ON
</b>          DJANGO showing off his incredible FAST DRAW and ACCURATE MARKSMANSHIP
          to Dr.Schultz.
          Dr.SCHULTZ

<b>                         (SMILING)
</b>          You know what they're going to call you,
          my boy? "The fastest gun in the South."

<b>          BACK TO SHOWDOWN
</b>          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.

                         

                         

                         

                         

<b>                         /65
</b>          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;

<b>                         DJANGO
</b>          Hey Little Trouble Maker.

<b>                         BROOMHILDA
</b>          Hey Big Trouble Maker.

<b>                         DJANGO
</b>          Down, boy.
          Timmy hops off of Tony.
          Django climbs aboard Tony. He says to Broomhilda;

<b>                         DJANGO
</b>          I tole' you ain't nuttin' gonna happen
          to me.

<b>                         BROOMHILDA
</b>          Yes you did.

<b>                         DJANGO
</b>          Girl, you're gonna hafta start trustin' me.

<b>                         BROOMHILDA
</b>          I'll keep that in mind.

                         

                         

                         

                         

<b>                         Âº66
</b>          Django looks down to Timmy.

<b>                         DJANGO
</b>          Thanks for the help, boy.
          He reaches into his saddle bag, and pulls out an apple, and tosses it
          down to Timmy.

<b>                         DJANGO
</b>          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.

<b>                         DJANGO
</b>          You gonna hafta keep up, ya know?

<b>                         BROOMHILDA
</b>          You won't wait for me.

<b>                         DJANGO
</b>          Better not.

<b>                         BROOMHILDA
</b>          You won't.

<b>                         DJANGO
</b>
<b>                         (SMILING)
</b>          Better not.

<b>                         BROOMHILDA
</b>
<b>                         (SMILING)
</b>          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.


</pre><br>
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	<td><h1>Django Unchained</h1><br><br>
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How did Django deal with Stephen at the end of the story?
How did Django deal with Stephen at the end of the story ?
He kneecapped him and then blew up the mansion with the incapacitated Stephen inside.
He kneecapped him and then blew up the mansion with the incapacitated Stephen inside .
He kneecaps him.
He kneecaps him .