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- DJANGO UNCHAINED
- Written by
- Quentin Tarantino
- I
- EXT - COUNTRYSIDE - BROILING HOT DAY
- 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.
- DJANGO
- 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.
- 2
- DJANGO
- 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.
- DJANGO
- 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.
- BACK TO DJANGO
- walking in Leg Irons with his six Other Companions, walking across the
- blistering Texas panhandle... .remembering.. .thinking. - .hating.
- THE OPENING CREDIT SEQUENCE
- end.
- /--" EXT - WOODS -- NIGHT
- 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.
- WHEN...
- .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.
- 3
- A BLACK HORSE
- carrying a dressed in grey Rider, CLIP-CLOPS from the background to the
- foreground, illuminated by a glowing lantern that the Rider carries.
- THE RIDER
- 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.
- DICKY SPECK
- Who's that stumblin around in the dark?
- State your business, or prepare to get
- winged!
- THE RIDER
- 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.
- THE RIDER
- (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?
- ACE SPECK
- Who wants to. know?
- THE RIDER
- 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.
- DICKY SPECK
- You a doctor?
- Dr.SCHULTZ
- Affirmative.
- DICKY SPECK
- What kinda doctor?
- Dr.SCHULTZ
- Dentist. Are you The Speck Brothers, and did you
- purchase those men at The Greenville.Slave Auction?
- ACE SPECK
- So what?
- LE
- Dr.SCHULTZ
- So, I wish to parley with you.
- ACE SPECK
- 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;
- DJANGO'S VOICE (OS)
- 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?
- DJANGO
- 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?
- DJANGO
- Dem da Brittle Brothers.
- Dr.SCHULTZ
- So Django, do you think you could recognize -
- �. The Speck Brothers have been watching this tenderfoot engage their
- Slave in polite conversation.. .with a touch of disbelief.
- ACE SPECK
- Hey, stop talkin' to him like that!
- Dr.SCHULTZ
- Like what?
- ACE SPEC
- Like that!
- Dr.SCHULTZ
- My good man, I'm simply trying to ascertain
- ACE SPECK
- Speak English, goddamit!
- Dr.SCHULTZ
- Everybody calm down! I'm simply a customer
- trying to conduct a transaction.
- ACE SPECK
- 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.
- ACE SPECK
- 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...?
- ACE SPECK
- 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...
- BAM...
- 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.
- DICKY SPECK
- 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 ...
- (COUNTING OUT
- THE SLAVES)
- .one, two, three, four, five, six,
- seven witnesses who can attest to that fact.
- DICKY SPECK
- 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.
- (TO DJANGO)
- As I was saying, if you were to see
- the Brittle Brothers again, would you
- recognize them?
- DJANGO
- 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?
- DJANGO SPAGHETTI WESTERN FLASHBACK
- 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.
- BACK TO DJANGO
- DJANGO
- I can point 'em out.
- Dr.SCHULTZ
- Sold American! So Mr.Speck, how much for
- Django?
- DICKY SPECK
- 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?
- DICKY SPECK
- You go to hell!
- Dr.SCHULTZ
- Don't be silly. How much for Django?
- DICKY SPECK
- 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.
- 8
- 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?
- 9
- DJANGO
- 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;
- 0
- 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.
- EXT - MORNING TEXAS LANDSCAPE - SUNRISE
- 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?
- DJANGO
- Who?
- Dr.SCHULTZ
- Your horse?
- DJANGO
- What horse?
- Dr.SCHULTZ'
- The horse you're riding.
- DJANGO
- This ain't my horse.
- Dr.SCHULTZ
- Yes it is.
- DJANGO
- 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.
- /1
- DJANGO
- I can't feed no horse. I can't put no horse
- up in no stable.
- Dr.SCHULTZ
- (FRUSTRATED)
- 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 -
- DJANGO
- - Tony.
- Dr.SCHULTZ
- - Tony what?
- DJANGO
- - I dunno, Tony the horse.
- Dr.SCHULTZ
- Oh, you mean you want to name your horse
- Tony?
- DJANGO
- Yeah. That's what you jus' asked me, right?
- Dr.SCHULTZ
- When you're right you're right, indeed I did.
- Why Tony?
- DJANGO
- 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,
- TEXAS"
- /Z
- 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.
- EXT - THE WESTERN TOWN OF DAUGHTREY - MORNING
- 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?
- DJANGO
- They never seen a nigger on a horse before.
- Dr.SCHULTZ
- What's this bizarre obsession they have
- with. you not riding horses?
- DJANGO
- 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?
- DJANGO
- Hell yeah, they gonna frown.
- Dr.SCHULTZ
- What part would they find the most offensive?
- 13
- DJANGO
- 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?
- DJANGO
- 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.
- DJANGO
- 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.
- INT - SALOON - MORNING
- 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.
- SALOON KEEPER
- 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.
- SALOON KEEPER
- Whoa! What the hell you think you doin' boy,
- get that nigger outta here.
- IT
- TIME CUT
- EXT - SALOON - MORNING
- 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;
- DJANGO
- 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,
- HE EXPLAINS;
- Dr.SCHULTZ
- Well the way the slave trade deals in
- human lives for cash, a bounty hunter,
- deals in corpses.
- 15
- 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.
- DJANGO
- What's a bounty?
- Dr.SCHULTZ
- It's like a reward.
- DJANGO
- You kill people and they give you a reward?
- Dr.SCHULTZ
- Certain people, yes.
- DJANGO
- White people?
- Dr.SCHULTZ
- Mostly. A few Mexicans. Couple Chinamen.
- DJANGO
- 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.
- (BEAT)
- 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?
- 1G
- �. DJANGO SPAGHETTI WESTERN FLASHBACK
- 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.
- BACK TO DJANGO
- DJANGO
- I know what they look like, all right.
- Dr.SCHULTZ
- Good. So, here's my agreement. You travel
- with me till we find them -
- DJANGO
- - 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.
- EXT - SALOON - MORNING
- 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.
- SHERIFF SHARP
- 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;
- 1 2
- SHERIFF SHARP
- 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... :.
- .THEN...
- 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;
- PEDESTRIAN
- 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.
- TIME CUT
- EXT - DAUGHTREY MAIN STREET - DAY
- U.S.MARSHALL GILL TATUM snaps the MENFOLK OF Daughtrey to attention.
- MARSHALL TATUM
- 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.
- LP
- 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.
- WHEN...
- COMING FROM THE SALOON... . PIANO MUSIC ...
- INT - SALOON - DAY
- 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?
- DJANGO
- I think they wonderin' why you playin'
- the piana'.
- Dr.SCHULTZ
- Good.
- (PAUSE)
- But what are they doing?
- DJANGO
- 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?
- DJANGO
- If the one I think is the.marshall is the
- marshall, he's out there.
- )9
- Dr.SCHULTZ
- What makes you think he's the marshall?
- DJANGO
- Cause he's the one ready to say somethin'.
- MARSHALL'S VOICE
- You in the saloon!
- Dr.Schultz stops playing the piano.
- MARSHALL'S VOICE
- 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?
- MARSHALL TATUM
- 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.
- MARSHALL TATUM
- 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?
- MARSHALL TATUM
- 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
- (TO DJANGO)
- 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..."
- EXT - SALOON/MAIN STREET - DAY
- 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.
- MARSHALL TATUM
- 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?
- MARSHALL TATUM
- 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.
- MARSHALL TATUM
- 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.
- Z/
- 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.
- CUT TO
- EXT - TENNESSEE COUNTRY ROAD - DAY
- 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?
- DJANGO
- 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?
- DJANGO
- 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?
- DJANGO
- Huh?
- ZZ
- Dr.SCHULTZ
- Do slaves believe in marriage'?
- DJANGO
- Me and my wife do.
- Dr.SCHULTZ
- Where is she now?
- DJANGO
- 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?
- DJANGO
- Sure.
- Dr.Schultz rips him off a piece. Django chews on it. As he chews,
- SCHULTZ SAYS;
- 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?
- DJANGO
- A few months ago.
- Dr.SCHULTZ
- Three or four?
- DJANGO
- Three.
- Dr.SCHULTZ
- So shecamefrom the Carrucan Plantation,
- and shewassold at The Greenville Slave
- Auctiontosome :unknown customer three
- monthsago?
- Django nods his head, yes.
- Z3
- 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.
- DJANGO
- 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?
- DJANGO
- They could do that?
- Dr.SCHULTZ
- I'm not saying they would, but they could.
- DJANGO
- 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.
- DJANGO
- Well I gotta go, when do I go?
- Dr.SCHULTZ
- When you get more dangerous.
- EXT - CHATTANOOGA - DAY
- 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.
- Z
- DJANGO
- 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.
- CUT TO
- EXT - BENNETT MANOR- DAY
- 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.
- SPENCER BENNETT
- 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.
- SPENCER BENNETT
- I said niggers -
- Z .ate`
- Dr.SCHULTZ
- His name is Django, he's a free man, and
- he can ride what he pleases.
- SPENCER BENNETT
- 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.
- SPENCER BENNETT
- State your business.
- Dr.SCHULTZ
- I wish to purchase one of your
- nigger gals.
- SPENCER BENNETT
- 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.
- SPENCER BENNETT
- 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.
- ZG
- SPENCER BENNETT
- 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.
- SPENCER
- Absolutely. Betina!
- A pretty, fleshy, sweet jelled, twenty-two year old slave gal named
- BETINA, snaps to attention.
- BETINA
- Yes sir, Big Daddy?
- SPENCER
- (TO SCHULTZ)
- What's your Jimmies name again?
- Dr.SCHULTZ
- Django.
- SPENCER
- Betina sugar, take Django around the
- grounds. Show 'em all the pretty stuff.
- BETINA
- 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.
- SPENCER
- Understood., Schultz. Betina?
- BETINA
- Yes, sir?
- SPENCER
- 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?
- BETINA
- Ya want I should treat 'em like white
- folks?
- SPENCER
- No that's not what I said.
- BETINA
- Then I don't know what'cha want Big Daddy.
- SPENCER
- Yes, I can see that.
- (HE THINKS)
- 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;
- MAMMY OF BENNETT MANOR
- Oh, you mean Jerry.
- SPENCER
- Yeah, that's the boy's name, Jerry.
- (TO BETINA)
- You know Jerry, dont'cha sugar?
- BETINA
- Yes 'em, Big Daddy.
- SPENCER
- Well that's it then... just treat 'em
- like you would Jerry.
- EXT - ANOTHER PART OF BENNETT MANOR - DAY
- 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.
- BETINA
- What'cha do for your massa'?
- DJANGO
- Didn't you hear him tell ya, I ain't no slave.
- BETINA
- So you really free?
- DJANGO
- Yes.
- ZY
- BETINA
- You mean you wanna dress like that?
- Django fumes.
- EXT - BENNETT MANOR (BACK PORCH) - DAY
- 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.
- SPENCER
- 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?
- SPENCER
- Dr.Schultz, five thousand dollar nigger,
- is practically my middle name.
- BACK TO DJANGO AND BETINA
- Betina and Django walk by a big tree on the plantation grounds.
- The cotton fields and the SLAVES picking it, in the background.
- DJANGO
- 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.
- BETINA
- What'cho want?
- DJANGO
- I'm lookin' for three white men. Three
- brothers. Overseers. Their name is
- Brittle. Do you know 'em?
- BETINA
- Brittle?
- DJANGO
- Yes, Brittle. John Brittle. Ellis Brittle.
- And Roger Brittle, sometimes called, Little Raj.
- BETINA
- I don't know dem.
- DJANGO
- They could be usin' a different name.
- They woulda' come to the plantation in
- the last year.
- BETINA
- You mean The Shaffer's?
- DJANGO
- Maybe? Three brother?
- BETINA
- Ah-huh.
- DJANGO
- Are they here?
- BETINA
- Ah-huh.
- DJANGO
- Can you point one of 'em out to me?
- BETINA
- 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.
- SPYGLASS POV:
- 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.
- DJANGO SPAGHETTI WESTERN FLASHBACK
- He remembers Ellis Brittle BURNING a "r" into Broomhilda's cheek with a
- BRANDING IRON.
- BACK TO DJANGO AND THE SPYGLASS
- he lowers the glass.
- 3 0
- BETINA
- (INNOCENTLY)
- Is that who you lookin' for?
- DJANGO
- Yep.
- He folds the spyglass back up, and puts it back in his purse.
- DJANGO
- Where's the other two?
- BETINA.
- They by the stable, punishin' Little Jody
- for breakin' eggs.
- DJANGO
- They whippin' Little Jody?
- She nods her head, yes.
- DJANGO
- Point me in that direction.
- She points to a shed, and keeps pointing right.
- BETINA
- You go to that shed, and keep goin' that way.
- Which means; "Go to the shed and turn right."
- DJANGO
- 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.
- FLASH ON
- 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
- BULLWHIP.
- DJANGO, keeping behind the line, begs Big John for mercy.
- 3/
- DJANGO
- Please Big John, she won't do it no more!
- She's real sorry!
- The WHIP RIPS her back.
- DJANGO
- (SCREAMING)
- Goddamit, Big John!
- LITTLE RAJ
- 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.
- BACK TO DJANGO
- crossing the lawn towards The Brittle Brothers, like an express train.
- FLASH ON
- Big John Brittle standing over him, bullwhip in hand, saying to the
- KNEELING DJANGO;
- BIG JOHN BRITTLE
- I like the way you beg, boy.
- EXT - STABLE - DAY
- 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'.
- BIG JOHN BRITTLE
- 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.
- BACK TO DJANGO
- 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.
- 3 2-
- BACK TO BIG JOHN BRITTLE
- In position to take the skin off of Little Jody's back.
- BIG JOHN
- After this we'll see if you break eggs again.
- DJANGO
- 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...
- WHEN ...
- .DJANGO'S VOICE, stops him;
- DJANGO
- 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.
- LITTLE RAJ
- Django?
- Django crosses toward Big John, raising up his arm like he's going to
- shake his hand ...
- DJANGO
- 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.
- BIG JOHN FACE
- goes into shock... .he falls to his knees...he looks up, clutching his
- heart, at Django.
- DJANGO
- I like the way you die, boy.
- 3 3
- 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.
- DJANGO WHIPS HIM TO THE GROUND
- 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?
- DJANGO
- That's John Brittle, and that's his
- little brother Raj.
- Dr.SCHULTZ
- Where's Ellis?
- DJANGO
- 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.
- SCHULTZ'S WINCHESTER
- goes to his eye, he follows the rider with his rifle barrel.
- Dr.SCHULTZ
- Are you sure that's him?
- Ellis gets further away...
- DJANGO
- Yes!
- Dr.SCHULTZ
- Are you positive?
- Ellis gets further away...
- DJANGO
- I dunno.
- Dr.SCHULTZ
- You don't know if you're positive?
- Ellis gets further away...
- DJANGO
- I don't know what, positive,'means.
- Dr.SCHULTZ
- It means you're sure.
- DJANGO
- Yes.
- Dr.SCHULTZ
- Yes, what?
- DJANGO
- Yes I'm sure that's Ellis Brittle.
- BAM!
- 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!
- SPENCER
- Just who the hell are you two jokers?
- 35;
- Dr�. 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 --
- DJANGO
- - 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.
- SPENCER
- 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?
- 36
- ,- Bennett hands Schultz back the piece of paper.
- Dr.SCHULTZ
- We good?
- BENNETT
- Get off my land.
- Dr.SCHULTZ
- Post haste.
- (TO DJANGO)
- Load up the bodies as quickly as
- you can, and let's get out of
- here.
- TIME CUT
- 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.
- BENNETT
- 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.
- EXT -- A TENNESSEE LAKE - NIGHT
- INSERT: Dr.Schultz's SADDLE BAG, the doctor's hands remove THREE STICKS
- /!. OF DYNAMITE from it.
- 3 7
- 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.
- CUT TO.
- CU SPENCER BENNETT
- lying on his belly in the grass.
- SPENCER BENNETT
- That's them sonsabitches.
- SPENCER'S POV:
- 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..
- SPENCER BENNETT
- 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;
- SPENCER BENNETT
- 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.
- BRADSHAW
- We ready, or what?
- 3 7
- SPENCER BENNETT
- Hold on I'm fuckin' with my eye holes.
- (RIPS)
- Shit ...I just made it worse.
- He rips. it off his head in frustration.
- RANDY
- I can't see shit either.
- REDFISH
- Who made this goddamn shit?
- 0. B.
- Willards wife.
- WILLARD
- Well make you own goddamn masks!
- SPENCER
- (TO WILLARD)
- Look nobody's saying they don't appreciate
- what Jenny did.
- REDFISH
- Well if all I hadda do was cut a bag, I
- could cut it better then this.
- 0. B.
- How 'bout-you Robert, can you see?
- ROBERT
- 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.
- RANDY
- Oh shit, I just made mine worse.
- He puts it on-then says;
- RANDY
- Yep, it's worse.
- He yanks it off his head.
- RANDY
- Did anybody bring any extra bags?
- TERRY
- No, no one brought a extra bag!
- 3 9
- RANDY
- I'm just asking.
- DOUG
- Do we hafta wear 'em when we ride?
- SPENCER
- 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.
- REDFISH
- 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!
- WILLARD
- 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.
- SPENCER
- O.B., I tole yo to keep quiet! They're asleep,
- not dead.
- O.B.
- But Willards riding off.
- SPENCER
- 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.
- RANDY
- Okay, I'm confused, are the bags on or off?
- Robert takes off his bag, and says;
- ROBERT
- 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.
- SPENCER
- Wait a minute, I didn't say no bags!
- YO
- TERRY
- But nobody can see.
- SPENCER
- So?
- TERRY
- So, it would be nice to see.
- SPENCER
- 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.
- EXT - LAKE - NIGHT
- 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.
- WE HEAR A GROUP OF LINES FROM CIRCLING COWBOYS ON HORSEBACK WITH BAGS
- 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...
- WE SNAP ZOOM TO
- A BIG TREE
- 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.
- SCOPE SIGHT POV
- The Yellow covered STICKS OF DYNAMITE protruding from the ground, are
- inside the scope sight circle, Horse hooves step around it.
- TWO SHOT
- Dr.SCHtJLTZ and DJANGO up in a tree.
- Dr.SCHULTZ
- Auf wiedersehen.
- L,
- He fires.
- The Camp EXPLODES Blowing Horses and Riders Apart.
- Dr.Schultz and Django lift up repeating rifles.
- Dr.SCHULTZ
- Let 'em have it!
- DJANGO
- I can't see nothin'.
- Dr.SCHULTZ
- Just fire into the smoke.
- The two treetop killers let loose with rifle fire.
- INSIDE OF THE SMOKE
- 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.
- SPENCER BENNETT
- on his horse with the other fleeing regulators RIDES for his life...
- SCOPE SIGHT POV
- We see the back of the fleeing Bennett smack dab in the cross hairs.
- DJANGO
- scope sight rifle up to his eye.
- Schultz next to him, says;
- Dr.SCHULTZ
- He's getting away.
- DJANGO
- I got 'em.
- SPENCER'S HORSE
- his hooves race and rip up the grass.
- SPENCER
- riding for his life...
- DJANGO
- scope sight rifle up to his eye.
- Dr.SCHULTZ
- He's getting out of range.
- DJANGO
- I got 'em.
- INSERT: A black finger squeezes the rifle trigger.
- SPENCER BENNETT
- we're behind him as he rides away, OFF SCREEN we hear the whistling of
- what sounds like an incoming missle.
- SPENCER BENNETT
- we're in.front of Spencer Bennett as he rides, when Django's bullet,
- RIPS THROUGH his CHEST.
- DJANGO
- DJANGO
- I got 'em.
- SPENCER BENNETT
- falls from his horse, dead.
- DJANGO
- 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;
- DJANGO
- 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.
- MONTAGE
- 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.
- EXT - COUNTRY MEADOW - PRETTY DAY
- 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.
- DJANGO
- 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?
- DJANGO
- 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?
- DJANGO
- 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?
- DJANGO
- 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...?
- DJANGO
- 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?
- TIME CUT
- EXT - PICNIC IN COUNTRY MEADOW - PRETTY DAY
- 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.
- DJANGO
- 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.
- DJANGO
- 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.
- DJANGO
- Really? There's a story 'bout Broomhilda?
- Dr.SCHULTZ
- Yes there is.
- DJANGO
- 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.
- DJANGO
- 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 -
- DJANGO
- Obliterate... . what does that mean?
- Dr.SCHULTZ
- Like blow up.
- He pantomimes a explosion.
- DJANGO
- 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.
- DJANGO
- 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.
- DJANGO
- 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.
- DJANGO
- 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.
- DJANGO
- 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?
- DJANGO
- Kill white folks, and they pay ya?
- What's not to like?
- Dr.SCHULTZ
- I hafta admit, we make a good team.
- DJANGO
- 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?
- DJANGO
- 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.
- DJANGO
- You makin' another agreement?
- W7
- 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.
- DJANGO
- 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.
- DJANGO
- 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.
- WE SEE
- 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.
- EXT - HILLSIDE - SUNNY DAY
- 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.
- Y, 8
- DOWN BELOW WE SEE
- 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.
- DJANGO
- Who that farmer? Who cares?
- Dr.SCHULTZ
- Well since we came here to kill 'em, he
- just might.
- DJANGO
- What? The little man pushin' that plow?
- Dr.SCHULTZ
- That little man pushing that plow, is Smitty Bacall.
- DJANGO
- 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.
- SCOPE SIGHT POV:
- 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?
- DJANGO
- 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.
- 1Ï¿½9
- 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.
- DJANGO
- (READING)
- "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
- CRAZY CRAIG KOONS."
- 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.
- (REFERRING TO
- THE HANDBILL)
- 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.
- DJANGO
- 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.
- 50
- 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.
- EXT - SNOWY FOREST - NIGHT
- 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.
- EXT - SNOWY FOREST - DIFFERENT NIGHT
- 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
- FROM ABOVE.
- DJANGO AND SCHULTZ
- up in a tree, FIRING DOWN ON them.
- EXT - WINTER MOUNTAIN TOWN MAIN STREET - NIGHT
- 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.
- 571
- The local SHERIFF, DON GUS, watches the two men ride up, he knows them.
- SHERIFF GUS
- Doctor and Django, how the hell are ya,
- and who the hell ya got there?
- Dr.SCHULTZ
- The Wilson - Lowe Gang.
- SHERIFF GUS
- 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.
- SHERIFF GUS
- 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.
- TNT - SHERIFF GUS'S OFFICE - NIGHT
- 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.
- EXT - PRETTY MEADOW - DAY
- 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.
- 5L
- 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.
- DJANGO
- 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...
- WE GO TO BLACK
- 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.
- BLACK TITLE CARD
- ACROSS THE SCREEN ONE LETTER AT A TIME STYLE (ala "Rocky" and
- "FLASHDANCE")
- MISSISSIPPI
- CUT TO
- EXT - THE TOWN OF GREENVILLE MISSISSIPPI - DAY
- 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.
- 53
- 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
- THE KIDS ALONG.
- Impromptu slave auctions take place on almost every block.
- A SUBTITLE APPEARS on the bottom of the screen:
- GREENVILLE
- CHICKASAW COUNTY, MISSISSIPPI
- 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.
- WE FLASH ON
- The TRAIN, at a earlier time, pulling into the depot.
- INSIDE ONE OF THE BOXCARS
- 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.
- JUDD
- Good god almighty these niggers stink!
- I F
- RUSS
- Niggers stink, where's the shock?
- (to the Slaves
- BELOW)
- 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.
- INSIDE THE CORRAL
- 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.
- BACK TO DJANGO (PRESENT)
- Django and Dr.Schultz on top of their horses, taking in the sight of
- Greenville.
- Dr.SCHULTZ
- It's a spectacle out of Dante.
- DJANGO
- You should see it from the other side.
- Dr.SCHULTZ
- Frankly, I don't know if I could endure this.
- DJANGO
- You'd be surprised what you can endure.
- (BEAT)
- Where to?
- 675
- Dr.SCHULTZ
- Records office.
- CUT TO
- INT - RECORDS OFFICE - DAY
- 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.
- BLACK TITLE CARD:
- BROOMHILDA
- INT - SLAVE PEN - DAY
- 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.
- EXT - MAIN STREET - GREENVILLE - DAY
- 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.
- BROOMHILDA
- 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.
- SELLER - CLYDE
- Fellahs, you ain't felt gentle, till you felt
- nigger gal gentle.
- UGLY MAN
- makes a bid.
- BROOMHILDA
- yikes.
- UGLIER MAN
- higher bid.
- BROOMHILDA
- reacts.
- UGLIER BY FAR GUY
- makes leap frog big bid.
- BROOMHILDA
- reacts.
- BIG GREASY FAT GUY
- makes a bid.
- BIG FAT GREASY BEAVER PELT COVERED TRAPPER
- makes a bid.
- A GIGGLING LEERING GROUP OF BROTHERS
- make a bid.
- A SEVENTY FIVE YEAR OLD INDIAN ON A MULE
- 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.
- NARRATOR (VO)
- 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.
- SCOTTY
- This is for you.
- She opens the bag,candies of many colors sit in it.
- SCOTTY
- They're jelly beans. Try one.
- She selects a yellow one and puts it in her mouth.
- SCOTTY
- 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.
- $XT - COUNTRY ROAD - DAY
- 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.
- BROOMHILDA
- Master Scotty... ?
- SCOTTY
- Yes Broomhilda?
- BROOMHILDA
- I'm lonely back here. Can I come on up with
- you on that seat so we can talk?
- SCOTTY
- Please, I'd love that.
- She climbs into the driver's seat. In more ways then one.
- '8
- EXT - THE HARMONY HOUSE - DAY
- 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?
- BROOMHILDA
- Broomhilda.
- Mrs.HARMONY
- Follow me. into the kitchen,
- ('to her son)
- You stay out here.
- INT - KITCHEN - DAY
- 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.
- BROOMHILDA
- 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?
- BROOMHILDA
- I'll do my best, mam. Scotty's a real sweet boy.
- Mrs.HARMONY
- He is, isn't he?
- BROOMHILDA
- Ah-huh.
- The mother lets go of the young lady's wrist.
- 19
- NARRATOR (VO)
- 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.
- NARRATOR (VO)
- 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.
- NARRATOR.(VO)
- 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.
- NARRATOR (VO)
- 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.
- NARRATOR (VO)
- After three months of this bliss,
- Scotty decided to take Broomhilda for
- a romantic weekend in Greenville.
- SCOTTY AND BROOMHILDA
- 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.
- 6O
- NARRATOR (VO)
- 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).
- BROOMHILDA
- holding her parasol, looking like a black Daisy Miller, watches the
- OTHER SLAVES march by in the mud. They watch her too.
- INT - HOTEL LOBBY - NIGHT
- Broomhilda and Scotty, and their luggage, move into the fancy hotel
- lobby, and rent a room at the front desk.
- INSERT: HOTEL REGISTRY
- Scotty signs his name. The DESK CLERKS HAND checks the box on the
- registry book that indicates darkee female companion.
- INT -. GREENVILLE - NIGHT
- Greenville at night is a little different. At night, RICH WHITE MASTERS
- showing off their Ponys (like Scotty), rule the streets.
- NARRATOR (VO)
- 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.
- EXT - CLEOPATRA CLUB - NIGHT
- An establishing shot.of the three story house that has been converted into
- private club called, The Cleopatra Club.
- NARRATOR (VO)
- But the crown jewel of all this interracial
- frivolity, was the members only, Cleopatra
- Club.
- INSERT: GOLD PLAQUE
- with the name, THE CLEOPATRA CLUB on it, next to it is a profile of
- Nefertiti.
- 6!
- INT - THE CLEOPATRA CLUB - RESTAURANT - NIGHT
- 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.
- SCOTTY
- 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.
- NARRATOR (VO)
- Then... speak of the devil and the devil
- appears.
- CALVIN CANDIE
- appears at their table.
- CALVIN CANDIE
- 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.
- SCOTTY
- Thank you so much, it's a great honor.
- We love it here.
- Pointing at a empty chair.
- CALVIN CANDIE
- May I join you?-
- SCOTTY
- Please, by all means.
- Calvin sits down.
- Broomhilda gets a sinister chill from this smiling jack.
- Scotty, as per usual, is clueless.
- CALVIN CANDIE
- How long have you been a member?
- SCOTTY
- We just joined this weekend.
- CALVIN CANDIE
- 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.
- SCOTTY
- Well said, and money well spent.
- He squeezes Broomhilda's hand.
- Candie sees this.
- CALVIN CANDIE
- 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.
- NARRATOR (VO)
- 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.
- '3
- �-. BACK AT THE CLEO CLUB
- The now drunk Scotty is playing poker with Calvin and his friends.
- NARRATOR (VO)
- 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.
- CANDIE
- (TO SHEBA)
- Really?
- (TO SCOTTY)
- You know what Sheba just tole me?
- Scotty, thinking about his great hand, says;
- SCOTTY
- What?
- CANDIE
- She says she thinks you're cute.
- SCOTTY
- Really? Thank you Sheba, I think you're
- beautiful.
- Sheba whispers something else in Candie's ear.
- CANDIE
- Sheba says she'd like to give you a little
- lip. Want some lip?
- Scotty, is a little surprised.
- SCOTTY
- Well, she's your Pony...I mean...
- CANDIE
- 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.
- G
- CANDIE
- 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.
- SCOTTY.
- 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.
- CALVIN CANDIE
- Not so fast, boy.
- (BEAT)
- Pot ain't fat enough yet.
- SCOTTY
- I'm all in.
- CALVIN CANDIE
- 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.
- SCOTTY
- 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.
- CALVIN CANDIE
- One final raise.
- Scotty takes the piece of paper, "What's this?"
- CALVIN CANDIE
- It's Sheba's bill of sale.
- SCOTTY
- What? I don't want her.
- Calvin.and the whole table laugh at that.
- CALVIN CANDIE
- You sure didn't look like you didn't want her.
- More laughter.
- CALVIN CANDIE
- In Greenville slaves are currency. And
- Sheba's worth about eight hundred dollars.
- I'm throwing Sheba in the pot. Match or
- fold?
- SCOTTY
- I'm all out of money.
- CALVIN CANDIE
- But we ain't playin' for money no more..
- We matchin' nigger gals. And a nigger gal
- you got.
- SCOTTY
- I can't bet Broomhilda.
- CALVIN CANDIE
- In Chickasaw County, she's money. Pony her up
- or fold. Somebody get him a piece of paper
- and a pencil.
- Somebody does.
- CALVIN CANDIE
- 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.
- SCOTTY
- 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.
- SCOTTY
- You cheated me.
- After Scotty uses the "C" word, everybody quiets down.
- CALVIN CANDIE
- What did you just call me?
- SCOTTY
- 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 .
- 66
- Everybody in The Cleo Club quiets down.
- CALVIN CANDIE
- 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
- PLAYER)
- Piano player, will you hit three separate
- notes?
- (TO SCOTTY)
- 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.
- SCOTTY
- Wait a minute ...no!
- FIRST NOTE ...
- SCOTTY
- I ain't dueling with you! I don't want
- to duel!
- CALVIN CANDIE
- Then get out of here, get in your buggy
- and get out of town.
- SCOTTY
- Sure. Let me just get my girl.
- CALVIN CANDIE
- You lost that girl, fat boy.
- SECOND NOTE...
- SCOTTY
- Wait!... . Look ... . Mr.Candie, I'm sorry I
- called you a cheat. But... please...I can't
- give you Broomhilda.
- CALVIN CANDIE
- Last chance fat boy, go home and get'useta
- to fuckin' another one.
- (BEAT)
- 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.
- 6 7
- THIRD NOTE...
- Calvin Candie SHOOTS Scotty Harmony dead.
- INT - HOTEL LOBBY - NIGHT
- Calvin Candie and his entourage enter the hotel lobby and go up to the
- FRONT DESK CLERK..
- CALVIN CANDLE
- Hello Oliver.
- FRONT DESK CLERK (OLIVER)
- Hello Mr.Candie, good evening.
- CALVIN CANDLE
- Good evening to you as well,. young Oliver.
- Could you please inform me which room
- your guest Scott Harmony is staying in?
- INT - HOTEL ROOM - NIGHT
- Broomhilda is asleep in bed...
- WHEN ...
- .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.
- INT - HOTEL LOBBY - NIGHT
- 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.
- EXT - GREENVILLE HOTEL - NIGHT
- 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.
- CALVIN CANDIE
- Welcome to Candyland.
- We do a SLOW ZOOM into Broomhilda's face.
- NARRATOR (VO)
- That was four months ago.
- CUT TO
- INT - GREENVILLE SLAVE AUCTION - DAY
- 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.
- ONE MANDINGO SLAVE (BANJO)
- 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.
- DJANGO
- Candyland? The mandingo fightin' place?
- Dr.SCHULTZ
- Oh, so you heard of it?
- DJANGO
- 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.
- ��` TIME CUT
- 6R
- 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?
- DJANGO
- Not so much... A little... Master Carrucan had
- a couple niggers he'd fight.
- Dr.SCHULTZ
- Can you play a mandingo expert?
- DJANGO
- What?
- Dr.SCHULTZ
- Can you convincingly masquerade as someone
- who is an expert on mandingo fighters?
- DJANGO€¢
- 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.
- DJANGO
- They call that "One-Eyed Charly."
- Dr.SCHULTZ.
- One-Eyed Charly?
- DJANGO
- 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?
- 70
- DJANGO
- 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.
- DJANGO
- 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?
- DJANGO
- That, I can do. What's next?
- Dr.SCHULTZ
- To get ourselves personally invited to
- Candyland by Calvin Candie himself.
- CUT TO
- EXT - THE CLEOPATRA CLUB - NIGHT
- 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.
- FRENCH MAID
- (SOUTHERN ACCENT)
- Bonjour.
- Dr.SCHULTZ
- (AMUSED)
- Bonjour, mon petite femme noire.
- We are here to see Calvin Candie.
- 7)
- She's been taught to smile and say:
- FRENCH MAID
- Enter.
- The two men walk into the entrance way of the house.
- A beautiful mulatto HOSTESS greets the two men.
- HOSTESS
- (SPEAKING QUITE
- REFINED)
- 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.
- CLEO
- Yes you gentlemen are expected. Please
- make yourself comfortable. I'll inform
- Monsieur Candie you've arrived.
- (referring to the
- FRENCH MAID)
- Can Coco get either of you two gentlemen
- a tasty refreshment?
- Dr.SCHULTZ
- Not at the moment.
- CLEO
- 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.
- INT - DINING ROOM (CLEOPATRA CLUB) - NIGHT
- 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.
- 72
- 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.
- COCO CHIRPS;
- COLO. -
- (VERY COUNTRY)
- 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.
- MOGUY
- 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.
- (CON'T)
- 73
- Mr.MOGUY
- (CON'T)
- (LOOKING AT
- DJANGO)
- .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.
- MOGUY
- 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.
- MOGUY
- 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
- SAY;
- Dr.SCHULTZ
- How long have you been associated with
- Mr.Candie?
- MOGUY
- 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.
- DJANGO
- One could almost say, you a nigger.
- Coco can't believe what this snappy looking cowboy nigger just said to
- Mr.Moguy.
- MOGUY
- 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?
- MOGUY
- Yes, he's a bit of a Francophile.
- 7EF
- Dr.SCHULTZ
- What civilized people aren't?
- MOGUY
- 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
- (FRENCH)
- What ever he prefers.
- This stops Moguy, and he turns to warn Schultz.
- MOGUY
- 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.
- INT - BILLIARD ROOM (CLEOPATRA CLUB) - NIGHT
- 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
- VASSEPI.
- 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;
- CALVIN CANDIE
- 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;
- 7S
- CALVIN CANDIE
- Quit stalling and answer the question.
- The room is quiet.
- Dr.SCHULTZ
- The awful truth?
- (PAUSE)
- I'm bored, and it seems like a good
- bit of fun.
- Candie takes that to heart. He'll accept it for now.
- CALVIN CANDIE
- 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.
- CALVIN CANDIE.
- The bigger nigger is mine. I just bought
- him today. What's his name, Moguy?
- MOGUY
- Big Fred.
- CALVIN CANDIE
- The other nigger belongs to this disreputable
- Italian gentlemen to my right. Amerigo Vassepi.
- (TO AMERIGO)
- What's your nigger's name?
- AMERIGO
- 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.
- CALVIN CANDIE
- How 'bout you, boy? You find nigger fightin'
- a good bit of fun?
- DJANGO
- You seen one nigger fight, ya seen 'em all.
- CALVIN CANDIE
- How'd you two like to try the signature drink
- of the club?
- 79
- Dr.SCHULTZ
- We'd love to.
- CALVIN CANDIE
- (yelling to the
- BARTENDER)
- 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.
- CALVIN CANDIE
- 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.
- CALVIN CANDIE
- What's your name, boy?
- Dr.SCHULTZ
- His name is Django.
- CALVIN CANDIE
- (TO SCHULTZ)
- Where'd ya dig him up?
- Dr.SCHULTZ
- A fortuitous turn of events brought
- Django and myself together.
- CALVIN CANDIE
- (TO DJANGO)
- I've heard tell about you. I heard you're a
- real bright boy.
- (BEAT)
- I'm curious, what makes you such a
- mandingo expert?
- DJANGO
- I'm curious, what makes you so curious?
- Bartholomew puts down his pool cue, and turns toward Django;
- BARTHOLOMEW
- What you say, boy?
- 77
- /�. Candie puts a calming hand on Bartholomew's shoulder.
- CALVIN CANDIE
- Calm down Bartholomew, gentle... gentle.
- Dr.SCHULTZ
- Monsieur Candie, I would appreciate it if
- you directed your line of inquiry to me.
- CALVIN CANDIE
- 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.
- CALVIN CANDIE
- No we weren't talking business yet. We
- were discussing my curiosity.
- Now according to Moguy here, if I do
- business with you...
- (POINTING TO
- SCHULTZ)
- , .I'm doin' business with both of y'all.
- (POINTING TO
- DJANGO)
- 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.
- CALVIN CANDIE
- (TO DJANGO)
- So Bright Boy,.Moguy here tells me you
- looked over my African flesh, and were
- none too impressed.
- FLASH ON
- we see. Django looking over THREE MANDINGOS..
- BACK TO CLEO CLUB
- DJANGO
- Not for top dollar.
- CALVIN CANDIE
- 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.
- DJANGO
- He don't wanna buy the niggers you wanna
- sell. He wants the nigger you don't
- wanna sell.
- CALVIN CANDIE
- 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?
- CALVIN CANDIE
- What do you consider ridiculous?
- Dr.SCHULTZ.
- For a truly talented specimen,
- ."The Right Nigger"..:?
- How much would you say, Django?
- DJANGO
- Twelve thousand dollars.
- Calvin Candle takes in the figure.
- CALVIN CANDIE
- Gentlemen, you had my curiosity. Now
- you got my attention.
- TIME CUT
- TNT -- CLEOPATRA CLUB -- RESTAURANT - NIGHT
- 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.
- 77
- CALVIN CANDIE
- How ya like that meat, Bright Boy?
- Django's eyes go to Calvin, he nods his approval.
- CALVIN CANDIE
- (TO COCO)
- How's your Catfish, dew drop?
- COCO
- Real good Monsieur Candie.
- CALVIN CANDIE
- (TO SCHULTZ)
- You spend a lot of time around niggers
- aside from Freeman here?
- Dr.SCHULTZ
- Not so much.
- CALVIN CANDIE
- Well if'in you did,.you'd know what a
- treat this was for 'em. You feel special
- Coco?
- COCO
- Yes. sir, Monsieur Candie.
- CALVIN CANDIE
- You feel special Bartholomew?
- BARTHOLOMEW
- Yes sir, Monsieur Candie.
- He looks to Sheba, who's licking her fingers from the Crawdads.
- CALVIN CANDIE
- Now Sheba always feels special. Dont'cha?
- SHEBA
- Yep.
- CALVIN CANDIE
- How 'bout you Bright Boy, you feel
- special?
- DJANGO
- (MEANING SHEBA)
- Not as special as her.
- The table breaks out in laughter.
- CALVIN CANDIE
- 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?
- CALVIN CANDIE
- 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.
- WE CUT
- EXT - COUNTRY SIDE MISSISSIPPI - DAY
- 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.
- THREE OTHER SHIRTLESS MANDINGOS (RODNEY, CHICKEN CHARLY, CHESTER) WHO
- 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.
- J
- RODNEY
- 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.
- FLASH ON
- Django with Schultz, earlier, inspecting and rejecting these three.
- RODNEY
- gives Django a bad eyeball look up on his horse.
- DJANGO ON TONY
- 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;
- DJANGO
- Gotta problem with your eyeball, boy?
- Rodney looks away.
- RODNEY
- No sir.
- DJANGO
- You want a boot heel in it?
- RODNEY
- No sir.
- DJANGO
- 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?
- DJANGO
- Not so much.
- Dr.SCHULTZ
- Prefer the other side?
- DJANGO
- I didn't say that.
- Dr.SCHULTZ
- I've confirmed Broomhilda's at Candyland.
- DJANGO
- 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.
- DJANGO
- 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.
- SUDDENLY ...
- Calvin Candie comes riding up behind them...
- CALVIN CANDLE
- Am I intruding?
- Dr.SCHULTZ
- Of course not.
- CALVIN CANDIE
- (APPRAISING THE
- TWO MEN)
- I swear you two are cozier then a couple
- of cuttle fish.
- Dr.SCHULTZ
- You'd be surprised what a good
- conversationalist Django is.
- CALVIN CANDIE
- 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?
- 1?3
- CALVIN CANDLE
- You been on it. I own the whole sixty
- miles 'fore we get to Candyland.
- Candie gets annoyed at the barking dogs.
- CALVIN CANDIE
- Excuse me a moment, gentlemen.
- (YELLING BEHIND
- him at Billy)
- Billy Crash, git up here!
- Billy Crash, a hillbilly overseer who's missing his two front teeth,
- rides up.
- BILLY CRASH
- Yeah, Boss?
- CALVIN CANDIE
- Find out what that goddamn commotion
- is up at the tracker shack!
- BILLY CRASH
- Right away, Boss.
- Billy Crash TEARS UP AHEAD on his horse.
- CALVIN CANDIE
- 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
- �, emotions betray nothing.
- PTE
- CALVIN CANDIE
- (CON'T)
- 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.
- CALVIN CANDIE
- What the hell's goin on?
- BILLY CRASH
- They got 'em a runaway.
- CALVIN CANDIE
- Who?
- CUT TO
- EXT - TRACKER SHACK - DAY
- 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
- MARSHA.
- 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.
- O V5
- 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.
- CALVIN CANDIE
- Well I'll be, D'Artagnan. Now boy, why do
- a fool thing like run off?
- D'ARTAGNAN
- I can't fight no more, Monsieur Candie.
- CALVIN CANDIE
- 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
- TRACKERS)
- 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.
- CALVIN CANDIE
- How long was he loose?
- Mr. Stonesipher spits tobacco juice.
- Mr.STONESIPHER
- A.night. Day. Half the other night.
- CALVIN CANDIE
- How far he git off property?
- Mr.STONESIPHER
- Bout twenty miles off prop. Pretty fer,
- considering that limp he got.
- CALVIN CANDIE
- Moguy, who was D'Artagnan suppose to fight
- Friday?.
- MOGUY
- (pointing behind him)
- One of this new lot.
- CALVIN CANDIE
- Well the way he looks now a blind Indian
- wouldn't bet 'a bead on 'em.
- (TO D'ARTAGNAN)
- Boy, you done made yourself as useless as
- a tail on a teddy bear.
- D'Artagnan starts begging.
- CALVIN CANDIE
- 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.
- D'ARTAGNAN
- I won every one.
- CALVIN CANDIE
- 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.
- CALVIN CANDIE
- 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.
- CALVIN CANDIE
- You even know what reimburse means?
- E 17
- 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.
- CALVIN CANDIE
- You will?
- Removing his long brown leather billfold from his suit jacket pocket.
- Dr.SCHULTZ
- Yes.
- CALVIN CANDIE
- 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.
- DJANGO
- No he won't.
- All eyes turn to Django.
- DJANGO
- 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
- (TO CANDIE)
- 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.
- CALVIN CANDIE
- 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.
- CALVIN CANDIE
- Well now since you won't pay a penny for
- this pickaninny, you won't mind me handlin'
- this nigger however I see fit?
- DJANGO
- He's your nigger.
- CALVIN CANDIE
- 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...
- THE MANDINGOS
- 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
- �-. to Django.
- P9
- CALVIN CANDIE
- 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.
- DJANGO
- Naw, he just ain't use to seein' a man
- ripped apart by dogs, is all.
- CALVIN CANDIE
- But you are use to it?
- DJANGO
- 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.
- CALVIN CANDIE
- Follow me.
- The whole caravan rides off as the dogs continue to tear D'Artagnan
- apart.
- EXT - THE GROUNDS OF CANDYLAND - DAY
- 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.
- 90
- 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.
- EXT - SLAVE VILLAGE - DAY
- 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.
- THEN ...
- .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
- �. 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...
- STEPHEN
- 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.
- THEN...
- 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;
- CALVIN CANDIE
- Hello Stephen my boy!
- STEPHEN
- Yeah yeah yeah, hello my ass - who's
- this nigger up on that nag?
- CALVIN CANDIE
- Oh Stephen, why so ornery, you miss me?
- STEPHEN
- Yeah, I miss you like I miss.a rock in my
- shoe. Like I said, who's this nigger, up
- on that nag?
- DJANGO'S VOICE (OS)
- Hey Snowball.
- : Stephen looks up at Django on Tony.
- DJANGO
- If you wanna know who I am, or the name of
- my horse, you ask me.
- STEPHEN
- Just'who the hell you callin' Snowball,
- horse boy? I'll yank your ass of that
- goddamn'nag, so goddamn fast - in the mud.
- CALVIN CANDIE
- Whoa, whoa, whoa, Stephen, let's keep it
- funny. Django's a Freeman.
- Stephen jerks a thumb up towards Django.
- STEPHEN
- This nigger, here?
- CALVIN CANDIE
- 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.
- STEPHEN
- Calvin, who the hell is this nigger you
- feel the need to entertain?
- CALVIN CANDIE
- 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?
- STEPHEN
- I don't know why I gotta -
- CALVIN CANDIE
- You don't hafta know why, do you
- understand?
- STEPHEN
- Yeah yeah yeah, I understand just fine.
- CALVIN CANDIE
- Good. They're spending the night. Go up
- in the guest bedrooms and get two ready.
- 93
- STEPHEN
- (POINTING AT
- DJANGO)
- He's gonna stay in the Big House?
- CALVIN CANDIE
- Stephen, he's a slaver. It's different.
- STEPHEN
- (INCREDULOUS)
- In the Big House?
- CALVIN CANDIE
- You gotta problem with that?
- STEPHEN
- 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!
- CALVIN CANDIE
- 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;
- STEPHEN
- 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.
- CALVIN CANDIE
- 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.
- LARA LEE
- 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.
- CALVIN CANDIE
- These two are in the market for a fightin'
- nigger. So I thought I'd invite 'em down,
- show 'em my stock.
- LARA LEE
- We'll all have dinner tonight, right?
- CALVIN CANDIE
- 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;
- CALVIN CANDIE
- 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.
- CALVIN CANDIE
- Howdy Ace.
- (TO SCHULTZ
- AND DJANGO)
- This here is my Overseer .Cap't, and
- nigger fight trainer extraordinaire,
- Ace Woody.
- 915
- Pointing at the two shadows that flank Ace Woody.
- CALVIN CANDIE
- And that's Brown and that's Jingle Bells
- Cody.
- (TO ACE)
- Ace, this here is Dr.Ring Schultz, and
- Django Freeman, they're big customers with
- big pockets wanna buy a big 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.
- ACE WOODY
- Welcome to Candyland, gentlemen.
- Astride their horses Brown and Jingle Bells Cody just make faces at
- Django.
- Ace's attention goes to the five new mandingos.just walked from
- Greenville to here.
- ACE WOODY
- These the new chickens?
- CALVIN CANDIE
- Yes siree bob.
- ACE WOODY
- How many you get?
- (HE COUNTS)
- One, two, three, four, five.
- CALVIN CANDIE
- Five real strong bucks.
- ACE WOODY
- How many you get rid of?
- CALVIN CANDIE
- We still got three left.
- Ace looks to see who came back from the auction.
- Leo Moguy chimes in;
- MOGUY
- I already wired the LeQuint Dickey people,
- they'll be here tomorrow.
- Ace turns to Brown.
- ACE WOODY
- Get 'em away from the others. Put 'em in
- the pen till tomorrow.
- Brown with his horse, yells, chases, and herds the three men away into
- the slave pen.
- Ace yells from his horse down to the five new mandingo arrivals, Big
- Fred, Banjo, Sidney James, Tatum,.and Joshua.
- ACE WOODY
- Y'all stand over there and make a line!
- They do.
- Ace climbs down from off his horse.
- Cody stays in his saddle, circling the black men with his horse.
- Everybody, including Django and Dr.Schultz, watch the show.
- Ace'Woody walks up and down the line looking at the new men.
- Candie, sitting comfortably up on his horse, says;
- CALVIN CANDIE
- What do you think?
- ACE WOODY
- I think you lookin' for niggers to push
- a plow, 'dem your boys.
- Candie rolls his eyes.
- CALVIN CANDIE
- What's wrong with them?
- ACE WOODY
- Hold it...hold it, you done bought
- r em, let me look at 'em.
- Unimpressed Ace Woody continues to examine them.
- ACE WOODY
- Okay, how 'bout that one, did you
- buy that one?
- CALVIN CANDIE
- Which one?
- ACE WOODY
- What you mean, which one? The one I'm
- pointing at, that one.
- 77
- CALVIN CANDIE
- Actually, that one was purchased by
- our mister Moguy.
- ACE WOODY
- (TO MOGUY)
- You bought him?
- MOGUY
- Yes I did.
- ACE WOODY
- Why?
- MOGUY
- I like his prospects.
- ACE WOODY
- His prospects? Now you know Mr..Moguy,
- I ain't a educated fella like yourself.
- Remind me again what prospects means?
- MOGUY
- Hope for the future.
- Jerking a thumb towards the slave in question.
- ACE WOODY
- You got hope for his future?
- MOGUY
- I did.
- ACE WOODY
- Well I don't.
- Ace walks over to the slave in question.
- ACE WOODY
- What's your name, boy?
- The mandingo says;
- SIDNEY JAMES
- Sidney James, sir.
- ACE WOODY
- So long Sidney James.
- Ace takes the peacemaker out of the holster on his hip, and SHOOTS
- Sidney James point blank in the belly.
- Everybody reacts.
- Especially the four other mandingos standing next to him.
- Sidney James rolls in the dirt, screaming and holding his bleeding gut.
- Till Cody puts a bullet in his head, putting him out of his misery.
- Moguy, shakes his head, "Typical," he thinks.
- Django and Schultz, on their horses next. to Candid, watch.
- Ace looks up at his boss.
- ACE WOODY
- Boss Candie, which one did you buy?
- CALVIN CANDIE
- Well to me the pick of the litter is
- Big Fred over there.
- ACE WOODY
- (POINTING AT
- FRED)
- This one over here?
- CALVIN CANDIE
- Yes.
- ACE WOODY
- (TO FRED)
- You Fred?
- A very scared Fred answers.
- BIG FRED
- Yes, sir.
- ACE WOODY
- Well good to meet'cha Fred, I'm'Ace Woody,
- I'm a man of influence 'round here. Now
- Fred am I mistaken, or were you already in
- a kurfuffle?
- CALVIN CANDIE
- I had 'em fight one of Amerigo's niggers
- last night.
- 'ACE WOODY
- How is of Amerigo?
- CALVIN CANDIE
- His nigger lost.
- 99
- ACE WOODY
- (TO FRED)
- Really? You won?
- BIG FRED
- Yes, sir.
- ACE WOODY
- Wup'ed his ass?
- CALVIN CANDIE
- Beat 'em to death.
- Smiling impressively at Big Fred.
- ACE WOODY
- (TO FRED)
- Really?
- CALVIN CANDIE
- He did have fifteen pounds on 'em,
- but still, he still beat his ass
- to death.
- ACE WOODY
- (TO FRED)
- You did?
- BIG FRED)
- Yes, sir.
- ACE WOODY
- Good job, boy. Got any more wins in ya?
- BIG FRED
- Yes, sir.
- Ace gives Cody a slight head nod, and Cody SHOOTS Big Fred in the back.
- Candie acts out mock frustration.
- The remaining three mandingos jump a mile.
- CALVIN CANDIE
- Now why did you do that?
- ACE WOODY
- He won his last fight last night.
- Ace puts his eyes on the three remaining mandingos
- 1 00
- ACE WOODY
- (TO MANDINGOS)
- Those of you with exceptional ability
- will find it ain't so bad here. Those of
- you who don't possess exceptional ability,
- will wish you did.
- Ace looks up to Cody on his horse.
- ACE WOODY
- Run 'em over to the Arena. Git 'em doin
- push ups. First one gives out, shoot 'em
- in the head.
- (TO MANDINGOS)
- Welcome to Candyland, boys!
- Cody runs the terrified mandingos to the arena.
- Candie leans over to Schultz and says;
- CALVIN CANDLE
- We only get about two out of every batch
- of five fighters we buy. But those two
- tend to be lucky.
- Ace Woody hops back up on his horse.
- CALVIN CANDIE
- You know Mr.Woody, I'm beginning to think
- that you don't trust my judgement?
- Ace Woody just smiles at his boss, and says;
- ACE WOODY
- Oh you know I always trust your judgement,
- Boss Candie...eventually.
- He rides off.
- Stephen limps back to the action.
- CALVIN CANDIE
- Ahhh, Stephen my boy, rooms ready?
- STEPHEN
- All ready for your guest and his nigger.
- Candie'shakes his head in mock frustration.
- CALVIN CANDIE
- Stephen, you're incorrigible.
- (TO SCHULTZ
- AND DJANGO)
- Gentlemen, let Stephen show you to your
- rooms.
- /O+
- CALVIN CANDLE
- (CON'T)
- There you can lie down and rest up
- for a couple of hours. Then we'll have
- some lemonade, and I'll show off some of
- my finer specimens.
- Dr.SCHULTZ
- Splendid.
- Both Dr.Schultz and Django climb down from their horses.
- Candie looks to a black little stable boy of about eight named TIMMY.
- CALVIN CANDIE
- Timmy boy, go take their horses for 'em.
- Fix 'em up at the stable, give 'em a load
- of oats.
- Django hands the boy the reigns.
- DJANGO
- That's Fritz, this is Tony. You take good
- care of 'em now.
- TIMMY
- Yes, sir.
- Django takes an apple out of his saddle bag, and hands it to the boy.
- DJANGO
- Once he's in the stable, give 'em that.
- He reaches back in the saddle and pulls out another one.
- DJANGO
- Give that one to Fritz.
- Timmy leads the horses away.
- The two visitors start to follow Stephen to their rooms, when
- Dr.Schultz pretends to remember something;
- Dr.SCHULTZ
- Oh, Monsieur Candie, about that matter about
- the nigger girl we were talking about?
- CALVIN CANDIE
- Nigger girl?
- Dr.SCHULTZ
- I believe you said she spoke German?
- CALVIN CANDIE
- Oh Yes, Hildi, what about her?
- ,oz.
- Dr.SCHULTZ
- Do you think before the demonstration you
- could send her around to my room?
- CALVIN CANDIE
- I don't see why not.
- (TO STEPHEN)
- Stephen, when you get through showing
- them to their rooms, go fetch Hildi.
- I want her cleaned up and smellin' nice,
- and sent over to Dr.Schultz's room.
- Stephen has to be the bearer of bad news.
- STEPHEN
- Actually... . Monsieur Candie... . there's
- somethin' we ain't tole you yet.
- CALVIN CANDIE
- What?
- STEPHEN
- Hildi's in The Hot Box.
- This gets Django's, Schultz's, and Candie's attention.
- CALVIN CANDIE
- What's she doin' there?
- STEPHEN
- What 'cha think she doin' in The Hot Box,
- she bein punished.
- CALVIN CANDIE
- What she do?
- STEPHEN
- She ran away again.
- CALVIN CANDIE
- Jesus Christ, how many people ran away
- when I was gone?
- STEPHEN
- Two.
- CALVIN CANDIE
- When did she go?
- STEPHEN
- Last night. They brought her back this
- morning.
- CALVIN CANDLE
- How bad did Stonesipher's dogs tear her up?
- Django's hand falls to the butt of his smoke wagon. If they sicked
- those dogs on his angel, he's going to just kill all these
- motherfuckers right now.
- STEPHEN
- Lucky for her they were busy lookin' for
- D'Artagnan's ass. Brown and Cody went out
- lookin' for her and found her. She a little
- beat up, but she did that to herself.
- Runnin' through them damn bushes.
- Django's hand moves away from his gun.
- CALVIN CANDIE
- How long she been in the box?
- STEPHEN
- What'cha think, all goddamn day! Little
- fool got ten more days to go.
- CALVIN CANDLE
- Take her out.
- STEPHEN
- (INCREDULOUS)
- Take her out? Why!
- CALVIN CANDLE
- Because I said so, that's why. Hildi is
- my nigger. Dr.Schultz is my guest. Southern
- hospitality dictates I make her available
- to him.
- STEPHEN
- But Monsieur Candie, she just ran away?
- CALVIN CANDLE
- Jesus Christ Stephen, what's the point of
- havin' a 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
- LARA LEE)
- Lara Lee would you and Cora be responsible
- for getting her cleaned up and presentable
- for Dr.Schultz?
- The overseers,'Tommy Giles and Hoot Peters go to The Hot.Box. While
- Billy Crash goes to the well to draw a bucket of water.
- Django watches them walk to The Hot Box.
- Dr.Schultz's eyes shift to Django, to watch him watch this.
- Stephen notices Django's interest in both The Hot Box and whoever's
- sizzling in it.
- The HOT BOX
- itself is a large IRON SOLITARY CONFINEMENT CELL DOOR (from Yuma
- Prison) built into the ground. They put a key in the lock, and the two
- men lift the heavy iron door open.
- REVEALING: A naked Broomhilda broiling in a small coffin like iron box
- dug into the ground.
- Broomhilda reacts to the sudden burst of blinding sunshine.
- WHEN ...
- Billy Crash TOSSES the bucket of water on her.
- Django watches this.
- DJANGO'S POV:.From his wide shot perspective we see them yank the NAKED
- BROOMHILDA (incoherent) out of the hole.
- REVENGE MUSIC PLAYS
- as we move into a Sergio Leone CU of DJANGO'S FACE.
- Stephen breaks the mood.
- STEPHEN
- (TO DJANGO)
- You comin', or you wanna sleep in that
- little box?
- Django turns his back on the naked Broomhilda and follows Stephen and
- Dr.Schultz up the front steps of The Big House.
- INT - THE BIG HOUSE - DAY
- Stephen leads the two guests up the big prominent sweeping staircase in
- the entry way of The Big House. Then down the hallway with the guest
- rooms. Dr.Schultz is shown his guest room by Stephen. Schultz enters
- the room and shuts the door behind him. Stephen takes Django to the
- room next door, opens the door, and leads him in.
- INT - DJANGO'S GUEST ROOM - DAY
- A guest room with a big feather bed, dresser drawer with a flowery
- pitcher of water and basin on top of it. A little bedside table with a
- lamp and a tiny bell on it.
- 105
- STEPHEN
- This one's yours, boy. That bed's damn
- nice too.
- Django walks over to the window, parts the curtains and peers out.
- Broomhilda's gone. As he looks through the glass, snotty Stephen
- rattles on in the background.
- STEPHEN
- Feel free to touch anything you want,
- cause we burnin' all this 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.
- DJANGO
- Not so fast.
- STEPHEN
- I got more important things to do then
- jaw with you.
- DJANGO
- Nigger, when I say stop you plant roots.
- Both the words and the tone stop Stephen dead. He turns around.
- DJANGO
- This tiny bell on this little table...
- .is this for you? I ring this, you
- do fer me?
- STEPHEN
- Me or somebody.
- Django reaches over and picks up the bell.
- (a soft) DING-A-LING
- STEPHEN
- (UNAMUSED)
- What 'cha want?
- DJANGO
- I want you to pour some water in that
- bowl for my wash up.
- Stephen does what he's told, but with attitude.
- )O'
- Django shuts the guest room door so the two men are alone.
- Once Stephen's done, Django stands up from the bed.
- DJANGO
- Gimmie.
- Stephen hands him the basin full of water.
- Django takes it from him.
- Then throws the water in Stephen's face.
- The dripping wet old slave can do nothing against this free man.
- DJANGO
- Whatsamatter Stephen, you don't like
- that?
- Django takes his hand and SLAPS the old man hard across the face
- knocking him to the floor;
- DJANGO
- That's my kinda bell ringin'. Git up.
- The old man timidly, slowly, and shaky rises off the floor - as soon as
- he does - Django SLAPS HIM TO THE FLOOR again.
- Then Django sits back down on the bed, looking at the old man on the
- floor below his knees.
- DJANGO
- I've known me House 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.
- X07
- STEPHEN
- Calvin wouldn't. let you do it.
- DJANGO
- Oh that's right, he gives you first name
- privileges... . ain't that cute. Sass me
- me again nigger, see what happen'.
- Stephen lying on the floor, bites his tongue.
- DJANGO
- That's what I thought. Now git outta"here.
- With as much dignity as he can muster, Stephen stands up.
- Before he leaves, Django tells him;,
- DJANGO
- When I ring this bell, you better come
- a runnin'. You - not nobody else. While
- I'm on this property, you my 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.
- DJANGO
- He ain't tellin' nobody 'bout that.
- That's all that needs to be said.
- INT - HALLWAY (BIG HOUSE) - DAY
- Lara Lee, Cora, and a traumatized, but cleaned up (she's dressed in a
- domestic maid uniform) Broomhilda stand outside Dr.Schultz's door,
- after Calvin's sister raps on it.
- Dr.Schultz opens the door.
- Dr.SCHULTZ
- Hello ladies.
- DOG
- LARA LEE
- Dr.Schultz, may I introduce to you,
- Hildi. Hildi, this is Dr.Schultz, he
- speaks German.
- Dr.SCHULTZ
- (TO BROOMHILDA)
- I've been informed you do as well.
- BROOMHILDA
- (GERMAN)
- It would be my, pleasure to speak with you
- in German.
- Schultz acts for the benefit of Miss Lara's astonishment.
- Dr.SCHULTZ
- Astonishing.
- (IN GERMAN)
- Please come inside Fraulein.
- She does, and just'as Lara Lee is to say something, Schultz says,
- "Thank You very much," and closes the door in her face. Miss Lara looks
- to her Mammy, and the two women head off nonplussed.
- INT - SCHULTZ'S GUEST ROOM (BIG HOUSE) - LATE AFTERNOON
- With the door closed, Schultz turns to the weak, frightened,
- disoriented girl.
- He gives her a pleasant smile.
- Dr.SCHULTZ
- They call you Hildi, but your real name
- is Broomhilda, isn't it?
- BROOMHILDA
- Yes. How do you know that?
- Dr.SCHULTZ
- Stands to reason who ever taught you
- German would also give you a German name.
- Can I pour you a glass of water,
- Broomhilda?
- Hearing her name being spoke properly for the first time in awhile, not
- to mention with a German accent, does have a bit of a calming influence
- on the frightened girl.
- 107
- WE CUT TO DJANGO
- on the other side of the adjoining door, listening, waiting for his cue
- to present himself.
- BACK TO BROOMHILDA AND Dr.SCHULTZ
- As Dr.Schultz calmly pours the young lady a glass of water, he begins
- talking to her in GERMAN SUBTITLED IN ENGLISH;
- Dr.SCHULTZ
- (GERMAN)
- I'm aware you haven't spoken German in
- a long while. So I'll talk slowly.
- I'm only speaking German to you now,
- Broomhilda, in case Candie's people are
- listening to us. Myself and a mutual
- friend of ours, have gone through a lot
- of trouble, and rode a lot of miles, to
- find you fraulein - to rescue you.
- He hands her a tall clear glass of water.
- She looks at him weird, rescue me?
- Dr.SCHULTZ
- (GERMAN)
- Please drink.
- She absentmindedly obeys.
- Dr.SCHULTZ
- (.GERMAN).
- Now it's myself and our mutual friend's
- intention to take you away from here
- forever.
- BROOMHILDA
- (GERMAN)
- I don't got any friends.
- Dr.SCHULTZ
- (GERMAN)
- Yes you do.
- BROOMHILDA
- (GERMAN)
- Who?
- Dr.SCHULTZ
- (GERMAN)
- I can't tell you. Our mutual friend has a
- flair for the dramatic, and he wants to
- surprise you.
- !!0
- BROOMHILDA
- (GERMAN)
- Where is he?
- He points at the adjoining door.
- Dr.SCHULTZ
- (GERMAN)
- Standing right behind that door.
- Her head moves in the direction of the door.
- He looks to the young woman;
- Dr.SCHULTZ
- (GERMAN)
- Promise me you won't scream?
- She nods her head, yes.
- Dr.SCHULTZ
- (GERMAN)
- Say, I promise.
- BROOMHILDA
- (GERMAN)
- I promise.
- Dr.Schultz moves to the door, and lightly raps on it.
- The door knob turns.
- The door slowly opens revealing...
- Her husband Django, but different, all cowboyed out and cleaned up.
- He smiles at her, and says;
- DJANGO
- Hey Little Trouble Maker.
- Obviously a pet name between them.
- Broomhilda goes into a bit of shock...
- .first she loses strength in her wrist, so the glass tips over, and
- the water spills on the floor ...
- .followed quickly by herself spilling on the floor in a dead. faint.
- 1/1
- The two men look at the woman on the floor, then at each other;
- Dr.SCHULTZ
- You silver tongued devil you.
- MONTAGE
- WE DISSOLVE to later, as we see Dr.Schultz and Django explain what-
- they're doing there, who they're pretending to be, and what their plan
- is to Broomhilda. We hear a woman whistle a soft pretty tune on the
- soundtrack. It's not a happy tune.. .per se. But it's pretty, and
- vaguely optimistic ...
- WE DISSOLVE TO The SLAVE PEN
- The doomed men who didn't sell at Greenville, brooding Rodney and
- Chester and Chicken Charly, spend their last night at Candyland
- sleeping under the stars in The Slave Pen. The same whistling tune
- continues over this scene.
- Rodney sees, The whole slave selling and buying group, Django,
- Dr.Schultz, Candie, Bartholomew, Moguy, Ace Woody, Brown and Cody, and
- the Overseers, walk across the plantation grounds on their way to
- The Arena. Laughin' and joshin' all the way. The hatred Rodney feels
- for that group of men burns inside him like a red hot poker.
- A study in powerless fury.
- DISSOLVE TO BROOMHILDA SETTING THE DINNER TABLE
- in the dining room of The Big House with its knives, spoons and forks.
- She's all by herself as she goes through this duty.
- The whistling tune we've been listening to has been coming from
- Broomhilda whistling as she sets the table.
- Suddenly out of the darkness of the background appears Stephen.
- STEPHEN
- What you. whistlin', girl?
- Broomhilda stops whistling and spins surprised in Stephen's direction.
- STEPHEN
- What was you whistlin'?
- BROOMHILDA
- Oh nuttin'.
- STEPHEN
- You weren't whistlin' nothin', you were
- whistlin' somethin'. What'cha whistlin'?
- BROOMHILDA
- I dunno. Somethin' I heard. I don't know
- no.name.
- )/Z
- STEPHEN
- It's kinder pretty.
- She doesn't say anything in return.
- STEPHEN
- That was a compliment.
- BROOMHILDA
- Thank you.
- Stephen steps out of the shadows into the light closer to Broomhilda.
- STEPHEN
- I'm just sayin', two days ago you wus' in
- such misery here, you hadda run off. So you
- run off, we catch your ass an' drag you back.
- Then we stick your bare ass to sizzle in
- The Hot Box for' 'bout ten hours. Now here
- you are two days later, whistlin' while you
- work. I'm just sayin', I.wouldn' think you'd
- have a hellva lot to whistle 'bout.
- .I'm jus' sayin'.
- He watches the effect his words have on Broomhilda's face.
- BROOMHILDA
- I'm done here, may I be excused?
- STEPHEN
- Yes you may.
- She moves off to another part of the house.
- He watches her shuffle off.
- INT - DINING ROOM (BIG HOUSE) - NIGHT
- Later that evening, Django and a lot of other white people (Calvin
- Candie, Lara Lee, Moguy, and Dr.Schultz) sat around the dinner table.
- They are being served by the black people we've come to know at
- Candyland (Stephen, Cora, and because Dr.Schultz likes her Broomhilda).
- Along with an army of DOMESTIC SLAVES acting as wait service.
- Knowing Django's a slaver, and for his dinner table privileges, the
- Domestic Slaves despise Django.
- Even Broomhilda will be shocked to hear him speak like a slaver, even
- though they obviously gave her a heads up on their masquerade.
- We pick up the conversation in mid-negotiation.
- "5.
- Dr.SCHULTZ
- Look Monsieur Candle, they were all fine
- specimens, no doubt about it. But the
- best three, by far, were Sampson, Goldie,
- and Eskimo Joe. - By the way, why's he
- called Eskimo Joe?
- CALVIN CANDIE
- Oh you never know how these 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.
- CALVIN CANDIE
- All three are champions.
- Django contradicts, as he chews his steak;
- DJANGO
- Samson's the champion. The other two
- are pretty good.
- All the Domestic Slaves around the table STIFFEN at witnessing Django
- contradict Calvin Candie.
- Including Broomhilda, who's wielding the Gravy Boat. After Django says
- that, while in shock, she over pours beef gravy on Lara Lee's mashed
- potatoes.
- LARA LEE
- Hildi!
- Broomhilda snaps back.
- Instead of getting angry, Candle seems to reflect on that analysis,
- then issues his own appraisal;
- CALVIN CANDIE
- Can Eskimo Joe whip Sampson, no. Can he
- take Goldie, probably not - Goldie's the
- best dirty fightin' nigger I ever saw. But as
- long as you don't put 'em up against those
- two., Eskimo Joe will whip any niggers ass.
- DJANGO
- Maybe.
- The Domestics FREEZE for a jerky second when Django says that.
- //
- F
- Dr.SCHULTZ
- You must understand, Monsieur Candie, while
- admittedly a .neophyte in the 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;
- CALVIN CANDIE
- 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.
- (BEAT)
- 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.
- CALVIN CANDIE
- I see you two gettin' on?
- Dr.Schultz breaks into a wide grin;
- Dr.SCHULTZ
- .Famously.
- (DRAMATIC PAUSE)
- Monsieur Candie, you can't imagine what
- it's like not to hear you native tongue
- for four years.
- CALVIN CANDIE
- Hell, I can't imagine two weeks in Boston.
- »5
- Everybody at the table chuckles.
- Dr.SCHULTZ
- I can't express the joy I felt conversing
- in my mother tongue. And Broomhilda is a
- charming conversation companion.
- As Broomhilda holds the bowl of green beans for Moguy, Lara Lee notices
- how Django and Broomhilda look and try not to look at each other.
- Stephen enters the room with a fresh mint julep for Monsieur Candie.
- LARA LEE
- I don't know doctor, you can lay on all
- the German sweet talk you want, but it
- looks like this ponys got big eyes for
- Django.
- Lara Lee has no idea how right she is, but when she said it, all three,
- Django, Broomhilda, and Schultz, involuntarily jerk.
- AND ...
- .STEPHEN sees it.
- Schultz covers the jerk with more of his verbal gobbilty gook.
- Except for Stephen, no one else was the wiser.
- Broomhilda takes her greenbeans and leaves the dining room for the
- kitchen.
- Stephen watches her go, then looks at Django, then hands Candie his
- mint julep, and goes into a broad routine for the table's benefit.
- CALVIN CANDIE
- Stephen, you're amazing. I haven't finished
- a drink in this house in twenty years.
- STEPHEN
- When a man likes a cold drink, a man likes
- a COLD drink.
- Chuckle... . chuckle...
- CALVIN CANDIE
- Did you overhear that joke I said about
- me spending two weeks in Boston
- STEPHEN
- (MOCK INDIGNANT)
- You don't have any idea the work I do
- to see food gets on the table.
- 1/6
- CALVIN CANDIE
- What does that hafta do with the price of
- Tea in China?
- STEPHEN
- You think when I'm in that kitchen, I got
- nothin' better to do then listen in here
- to you tellin' unfunny jokes?
- Chuckle... . chuckle...
- CALVIN CANDIE
- (MOCK INDIGNATION)
- What? They laughed!
- STEPHEN
- Of course they laughed, their parents
- raised them right. When they're a guest
- in somebody's house, and the master of
- of the house thinks he's- funny, you
- suppose to laugh. They'd be rude not to.
- Chuckle... .chuckle...
- They play their little comedy routine for all it's worth.
- CALVIN CANDIE
- No it was really funny,
- (TO TABLE)
- wasn't it?
- STEPHEN
- Now what do you expect these people to
- say? What you need to do is stop
- embarrassing your guest.
- (TO TABLE)
- Everybody don't laugh at him, you're being
- polite, I understand, you mean well, but
- it just encourages him.
- Chuckle-chuckle...
- As the white folks chuckle, Stephen moves back into the kitchen.
- TNT - KITCHEN (BIG HOUSE) - NIGHT
- Once Stephen enters the kitchen, his smile melts away, and he locks
- eyes on Broomhilda. He moves over to her.
- STEPHEN
- You know that nigger?
- /� She spins around.
- 11 7
- BROOMHILDA€¢
- Who?
- STEPHEN
- Don't stall me bitch, you know who?
- BROOMHILDA
- At the table? I don't know him.
- STEPHEN.
- You don't know him?
- BROOMHILDA
- No.
- STEPHEN
- You wouldn't lie to me now, would you?
- She shakes her head, no.
- Stephen looks at her skeptical.
- STEPHEN
- Okay, if you say so.
- BACK TO DINNER TABLE
- Pick it up again in mid-negotiation.
- DJANGO
- Eskimo Joe's a quality 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?
- DJANGO
- Well, if I ,was inclined to be generous,.
- and I don't know why I would be inclined
- to be generous... . nine thousand ... . maybe.
- Candie's lawyer chimes in.
- MOGUY
- But the real question is, not how much
- he cost, but how much he can earn?
- Dr.SCHULTZ
- Django?
- DJANGO
- In a years time, seven or eight fights -
- outside of Mississippi - where his Candyland
- pedigree weren't well known - Virginia...
- (CON'T)
- 11Y
- DJANGO
- (CON'T)
- Georgia -- all goes well ...twenty to twenty
- one thousand dollars.
- CALVIN CANDIE
- Precisely Bright Boy, good on ya. Any way
- you cut that cake, that spells profit.
- Not to, mention a years worth of action at
- the big table in a blood sport with a
- winner 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.
- 117
- CALVIN CANDIE
- Splendid.
- (CALLING TO
- THE KITCHEN)
- Stephen, time for dessert!
- Stephen, Cora, Broomhilda, and the other Domestics come out of the
- kitchen to clear away the dirty dishes.
- Broomhilda goes to Calvin.
- BROOMHILDA
- Can I take away your dishes, Monsieur Candle?
- CALVIN CANDIE
- Yes you may, Hildi.
- She begins gathering the dirty dishes.
- Candie looks up at her as she works.
- CALVIN CANDIE
- So Hildi, how you like servin at the big
- table in the big house?
- BROOMHILDA
- I like it a lot Monsieur Candle.
- CALVIN CANDIE
- It's a lot better then sizzling in that
- hot box, or draggin' your ass through a
- bramble bush, ain't it?
- BROOMHILDA
- Yes 'em.
- With Candie interrogating Broomhilda, Django tenses up.
- Stephen clocks this.
- Stephen decides to test Django's reaction.
- STEPHEN
- You know Monsieur Candle, the doctor might
- be interested in seein' Hildi's "peeled"
- back. Seein' as he don't see many niggers
- where he from.
- CALVIN CANDIE
- (TO SCHULTZ)
- When you was alone with Hildi here, didja
- just speak German, or did ya git her
- clothes off?
- !20
- Dr.SCHULTZ
- We just spoke.
- CALVIN CANDIE
- So you haven't seen her back?
- Dr.SCHULTZ
- No I haven't.
- CALVIN CANDIE
- Then Stephen's right, you would probably
- find this interesting. Hildi, take off
- your dress, and show us your back.
- Django hears this.
- Broomhilda instinctively shoots a look to Django.
- Stephen clocks it.
- LARA LEE
- Calvin, I just got her all dressed up
- and looking nice.
- CALVIN CANDIE
- But Lara Lee, Dr.Schultz is from Dusseldorf,
- they don't got 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.
- LARA LEE
- Calvin, we are eating - dessert, no less.
- Ain't no one wanna see her whipped up back.
- Django continues to watching this play out.
- Stephen watches him.
- Candie folds.
- CALVIN CANDIE
- Okay okay Lara. Maybe after dinner.
- During the brandies.
- Broomhilda - dismissed - takes Calvin's dishes and heads back into the
- kitchen.
- Stephen takes one more look at Django, and follows Broomhilda behind
- the kitchen door.
- 121
- INT - KITCHEN (BIG HOUSE) - NIGHT
- In the kitchen with the OTHER DOMESTICS, Stephen says to Broomhilda;
- STEPHEN
- I thought you said you didn't know him?
- Broomhilda turns around.
- BROOMHILDA
- Huh?
- Stephen approaches her, the other Domestics get quiet and watch.
- STEPHEN
- I said, you said, you didn't know him?
- BROOMHILDA
- I don't.
- STEPHEN
- Yes you do.
- BROOMHILDA
- Mister Stephen, I don't.
- STEPHEN
- Why you lyin to me?
- As tears begin to well in her eyes.
- BROOMBILDA
- I ain't.
- STEPHEN
- Why you cryin'?
- BROOMHILDA
- Because you're scarin' me.
- STEPHEN
- Why am I scarin' you?
- BROOMHILDA
- Because you're scary.
- Things have become so tense and quiet in the kitchen, that the dinner
- table conversation begins to bleed inside.
- We hear Dr.Schultz in the next room say;
- Dr.SCHULTZ (OS)
- .to speak German,with Hildi this
- afternoon was positively soul enriching.
- Stephen hears this, he's starting to get the idea.
- 1ZL
- His eyes to to Broomhilda.
- STEPHEN
- You, stay in the kitchen.
- Stephen moves to the kitchen door, swings it open, and watches
- Dr.Schultz prepare to proposition Candie for Broomhilda. Stephen knows
- these two jokers (Django and Schultz) are up to something, and now he's
- just figured it out.
- INT - DINNER TABLE (BIG HOUSE) - NIGHT
- Dr.SCHULTZ
- You indicated earlier you would be
- willing to part with Hildi?
- CALVIN CANDIE
- Yes siree bob I did.
- Dr.SCHULTZ
- Well in that case allow me to propose
- another proposition?
- In full "Ole Jimmie" performance, Stephen BARGES in the room,
- INTERRUPTING Dr.Schultz.
- STEPHEN
- - Monsieur Candie?
- CALVIN CANDIE
- Stephen, you just interrupted Dr.Schultz.
- STEPHEN
- (to Dr.Schultz)
- Oh, I do apologize, doctor. My hearin'
- ain't worth a damn these days.
- (TO CANDIE)
- Monsieur Candie, I need a word with you in
- the kitchen.
- CALVIN CANDIE
- What, you mean get outta my chair?
- STEPHEN
- If you could manage it. It's about dessert.
- CALVIN CANDIE
- What about dessert?
- STEPHEN
- I would rather tell you in private.
- CALVIN CANDIE
- We're having rhubarb pie, what sort of
- melodrama could be brewing back there?
- 123
- Stephen bends down and whispers in his ear;
- STEPHEN
- Meet me in the library.
- Well that's a horse of a different color. That means whatever Stephen
- has to say, hasn't anything to do with rhubarb pie. "Meet me in the
- library" is their secret signal.
- CALVIN CANDIE
- Fine friend Stephen, I'll be along momentarily.
- Stephen exits.
- Candie stands up from his chair and addresses the table.
- CALVIN CANDIE
- Well as you can see, talented no doubt as
- they are in the kitchen, from time to
- time, adult supervision is required.
- If you'll excuse me a moment.
- Candie exits.
- TNT - LIBRARY (BIG HOUSE) - NIGHT
- A masculine sanctuary for Calvin Candie. Walls of perfectly bound
- books. Stuffed animal heads (deer, boar) that he's shot, sit mounted on
- the walls. There's comfy red leather chairs and a bar in the globe.
- When WE CUT TO this room, we cut to Stephen sitting in one of the red
- leather chairs, drinking a brandy out of a brandy sifter.
- Calvin enters the room, sees Stephen sitting in the chair, drinking his
- brandy, and doesn't bat an eye. It appears, in this room, Calvin's and
- Stephen's life long friendship exits on a different plane. Outside of
- outside eyes, in this room, all pretense of master and slave is
- dropped, and the number one and number two.. men of Candyland can talk
- turkey.
- CALVIN CANDIE
- What's the matter?
- STEPHEN
- Those motherfuckers ain't here to buy no
- mandingos. They want that girl. -
- CALVIN CANDIE
- What the hell you talkin' about?
- STEPHEN
- They playin your ass for a fool, that's
- what I'm talkin' bout. They ain't here
- for no muscle bound Jimmie, they here for
- that girl.
- CALVIN CANDIE
- What girl, Hildi?
- STEPHEN
- Yeah, Hildi. The niggers know each other.
- CALVIN CANDIE
- He just bought Eskimo Joe.
- STEPHEN
- Did he give you any money?
- CALVIN CANDIE
- Well not yet, but -
- STEPHEN
- - Then he didn't R ..Y diddly, not yet no
- how. But he was just about to buy, who he
- came here to buy, when I interrupted him.
- Thank you Stephen - you're welcome Calvin.
- CALVIN CANDIE
- Where you gettin' all this? Why would they
- go through all that trouble, to. buy a
- nigger with a chewed up back, ain't worth
- five hundred dollars?
- STEPHEN
- Well they're doin' it cause Django's in
- love with Hildi. She's probably his wife.
- Now why that German gives a fuck about
- who that uppity son-of-a--bitch is in love
- with, I'm sure I don't know.
- CALVIN CANDIE
- If she's who they want, why the whole
- snake oil pitch about mandingos?
- STEPHEN
- Because you wouldn't pay no never mind
- to four hundred dollar. But twelve
- thousand got you real friendly.
- Calvin thinks ...
- .as per usual, Stephen's right.
- CALVIN CANDIE
- Those lyin' goddamn.time wastin'
- sonsabitches!
- (LOUDER)
- Sonsabitches! You just watch, I'm gonna
- fix their wagon but good! Stephen, we
- .gonna have us a Candyland tar and
- feathering!
- FL5
- STEPHEN
- Now Calvin.. .not that I wouldn't enjoy
- seein' something like that ... . but why
- don't you sit down and let's talk about this.
- CALVIN CANDLE
- I let a goddamn nigger and nigger lovin'
- huckster insinuate themselves at my
- dinner table, and play this whole goddamn
- plantation for a fool!
- STEPHEN
- Calm-the-fuck-down, sit down, and let's
- discuss this.
- A frustrated Calvin finally collapses in the chair.
- STEPHEN
- Now look, you knew, and I knew, there
- was something up with these two. We just
- didn't know what. But now we do. They
- don't want you to know how bad they want
- that girl. But these ole boys have rode
- a lotta miles, went t6 a whole lotta
- trouble, and done spread a whole lotta
- bull to get this girl. They must want her
- mighty bad. Way I see it, ain't nothin'
- changed. They wanna buy a nigger, you
- wanna sell a nigger.The only thing done
- changed is the advantage.
- (BEAT)
- Now we got it. .So let's go back in there
- and busts these motherfucker's chops.
- INT - DINING ROOM (BIG HOUSE) - NIGHT
- The Dinner Table Guests listen to Lara Lee'Candie-Fitzwilly hold court
- melodramatically ... . Till ... . Calvin Candie enters the room from the
- kitchen door.
- Lara Lee, oblivious to her brothers change in demeanor, blurts out upon
- SEEING HIM;
- LARA LEE
- There you are! I was beginning to think
- you and that of crow ran off together.
- Schultz and Django feel the change in their host's demeanor, as he
- stares down the table at them.
- CALVIN CANDLE
- That'd be a hellva note, wouldn't it
- Lara Lee?
- (CON'T)
- 1Z J
- CALVIN CANDIE
- (CON'T)
- Lara Lee, I just looked out the big winda.
- Ace Woody's out there dealin' with some
- shady slaver sellin' a passel of Ponys.
- Would you be a dear and go out there and
- give them gals an eyeball. That of boy
- knows everything to know 'bout mandingos,
- But he don't know diddly 'bout black puddin'.
- Lara Lee excuses herself and leaves the room, as she goes out,
- Bartholomew, with his Sawed Off Shotgun, comes.in behind Schultz and
- Django.
- CALVIN CANDIE
- Can I ask you two gentlemen to look over
- your shoulder?
- Schultz and Django do, and see Bartholomew with his sawed off shotgun
- pointing at them.
- Calvin Candie removes his arm from behind his back, and in his hand
- he's holding a big ugly hammer.
- CALVIN CANDIE
- Now lay your palms flat on the table top.
- They put their palms on the table.
- CALVIN CANDIE
- Now you lift those palms off that turtle
- shell table top, Bartholomew gonna let
- loose with both barrels of that sawed off.
- There's been a lotta lies said around this
- table tonight-but that.. .you can believe.
- (BEAT)
- Mr.Moguy, would you be so kind as to collect
- the pistols hangin' on those boys'hips?
- Mr.Moguy does.
- Holding the hammer in his hand, Candie continues to hold court.
- CALVIN CANDIE
- Now where were we? Oh yes, I do believe you
- were just getting ready to make me a
- proposition to buy Broomhilda. Right?
- Dr.SCHULTZ
- Right.
- CALVIN CANDIE
- (YELLING TO
- STEPHEN)
- Stephen! Bring out Hildi!
- Ix?
- Stephen enters the dining room through the kitchen door, holding
- roughly in his grip, Broomhilda. He holds a small Derringer pistol
- against the side of her head.
- Django and Schultz react.
- CALVIN CANDIE
- Now it should be quite clear by now I know
- you're not here to buy no mandingos.
- Reason y'all came to Candyland, is y'all
- want Broomhilda. But y'all don't want me
- to know how much you want 'er. So instead,
- you waste my time with all this Eskimo Joe
- horseshit.
- (TO STEPHEN)
- Stephen, put her in that chair.
- Stephen sits the young lady down in Moguy's old chair.
- With their palms against the table, unarmed, Django and Schultz
- silently watch Candie's next move.
- Candie, still holding the hammer, continues.
- CALVIN CANDIE
- Now the way I see it, ain't nothin' changed..
- You still wanna buy a 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.
- CALVIN CANDIE
- Under the laws of Chickasaw County,
- Broomhilda is my property. And I can do
- anything with my property I so desire.
- He brings the big hammer down hard on the dinner table, making
- everybody jump.
- IN
- CALVIN CANDIE
- And if you think my price for this 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.
- CALVIN CANDIE
- 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?
- CALVIN CANDIE
- Yes you may.
- Dr.Schultz removes his long brown leather billfold from his gray suit
- jacket, and says;,
- Dr.SCHULTZ
- Easy come, easy go.
- He slides the billfold down the table to Candie. The plantation owner
- takes out the money, does a quick count, then looks down the table at
- the seated Schultz, and says;
- CALVIN CANDIE
- Pleasure doin' business with you.
- TIME CUT
- INT - DINING ROOM (BIG HOUSE) - NIGHT
- INSERT: Calvin signing over Broomhilda's BILL OF SALE.
- .Moguy signs as a witness.
- Broomhilda stands next to Django, and watches her Master sign her
- freedom papers.
- Dr.Schultz sits off by himself. He's very disturbed.
- All the white people with Calvin Candie are happy and celebrate
- Candie's successes with glasses of Brandy. Lara Lee, Ace Woody, and
- Brown and Cody have joined the' celebration.
- For an experienced horsetrader, the just concluded transaction is a
- thing of legend. He just sold a Pony, with a tore up back, and a
- runaway "r" burned in her cheek - ain't worth five hundred
- dollars- for twelve thousand.
- Stephen smiles and laughs it up with everybody else.
- The Other domestics bring out little plates of rhubarb pie, and buzz
- around pouring coffee for the white people.
- Candie walks over to the seated Schultz, he carries a small plate of
- rhubarb pie with him.
- CALVIN CANDIE
- (TO SCHULTZ)
- Rhubarb pie?
- Schultz looks at the pie and the man.
- Dr.SCHULTZ
- No.
- CALVIN CANDIE
- Are you brooding 'bout me getting the best
- of ya?
- Dr.SCHULTZ
- Actually, I was thinking of that poor
- devil you fed to the dogs today, D'Artagnan.
- And I was wondering what Dumas would make of
- all this.
- Calvin hands the doctor the two pieces of paper he needs. Broomhilda's
- bill of sale, and her freedom papers. As he says the following he
- examines he papers.
- CALVIN CANDIE
- Dumas...?
- Dr.SCHULTZ
- Alexander Dumas. He wrote "The Three Musketeers."
- I figured you must be an admirer. You named
- your slave after that novel's lead character.
- If Alexander Dumas had been there today, I
- wonder what he would of made of it?
- CALVIN CANDIE
- You doubt he'd approve?
- Dr.SCHULTZ
- Yes his approval would be a dubious proposition
- at best.
- CALVIN CANDIE
- Soft hearted Frenchy?
- Dr.SCHULTZ
- Alexander Dumas is black.
- 1 30
- Schultz rises, puts the papers in his back pocket, .looks to his two
- companions, Django and Broomhilda, and says;
- Dr.SCHULTZ
- We got it, let's go.
- (TO CANDIE)
- Normally Monsieur Candie, I would say,
- auf wiedersehen. But since what auf wiedersehen
- actually means is, till I see you again,
- and since I never wish to see you again,
- to you sir, I say, goodbye.
- Schultz begins to cross the room towards the exit.
- When Calvin says to the German's back;
- CALVIN CANDIE
- One more moment, Doc!
- Dr.SCHULTZ
- What?
- CALVIN CANDIE
- It's a custom here in the South, once a
- business deal is concluded, for the two
- parties to shake hands. It implies good
- faith.
- Dr.SCHULTZ
- I'm not from the South.
- He turns to leave.
- CALVIN CANDIE
- You're in my house, doctor, I'm afraid
- I must insist.
- This turns Schultz around.
- Dr.SCHULTZ
- Insist what...? That I shake your hand
- before I leave? Then I'm afraid I must
- insist in the opposite direction.
- Calvin walks closer to the German doctor.
- CALVIN CANDIE
- You know what I think you are?
- Dr.SCHULTZ
- What you think I am? No I don't.
- 1310,
- CALVIN CANDLE
- I think you are a bad loser.
- Dr.SCHULTZ
- And I think you're an abysmal winner.
- CALVIN CANDLE
- Never the less, here in Chickasaw County
- a deal ain't done till the two parties have
- shook hands. Even after all this paper
- signin', don't mean 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.
- CALVIN CANDIE
- Bartholomew, if she tries to leave here
- before this German shakes my hand.
- Cut 'er down.
- Schultz looks to Django... . then to Candle..
- .and then with a smile on his face, and a twinkle in his eye, asks
- CANDLE;
- Dr.SCHULTZ.
- You really want me to shake your hand?
- Django gets it.
- CALVIN CANDIE
- I insist.
- DR
- -Schultz smiles.
- Dr.SCHULTZ
- Well, if you insist.
- Django goes to stop him...
- 1 714
- The German crosses toward Candie, offering him his hand...
- Candie offers his hand to Schultz...
- The small DERRINGER POPS into Schultz's outstretched hand...
- POP!
- He SHOOTS CALVIN CANDIE in the heart.
- Candie has a look of shock as blood explodes from his heart, and he
- falls to the floor.
- Everybody is stunned.
- Schultz looks to Django.
- Django looks back.
- Dr.SCHULTZ
- (TO DJANGO)
- I'm sorry. I couldn't resist.
- Dr.SCHULTZ is BLOWN APART by Bartholomew's SAWED OFF SHOTGUN.
- The room comes to its senses and attacks Django and Broomhilda.
- FADE TO BLACK
- We FADE UP FROM BLACK to see:
- The soles of Django's bare feet. A rope is tied around the ankles, and
- it's obvious he's been strung up, upside down.
- The CAMERA moves down his naked body, down his legs (we see his wrists
- are'bound with ropes to his thigh), down his bare buttocks, down his
- whip scarred back, to the back of his head which hovers just about
- three inches from the barn yard wooden floor.
- INT - BARN - AFTERNOON
- Eight year old stable boy, Timmy, wipes the unconscious Django's face
- with a wet rag. They are all alone in the barn.
- Django begins to come to ...
- TIMMY
- (SHHH'S HIM)
- Act like you still sleepin'.
- DJANGO
- Where's Broomhilda?
- TIMMY
- Who?
- DJANGO
- Hildi, the slave girl that ran away a
- couple of days ago. They had her in The
- Hot Box.
- TIMMY
- I don't know 'bout no girl.
- DJANGO
- How 'bout that German white man I came
- here with?
- TIMMY
- Oh he's dead. His body's over there.
- Django twists upside down on the rope, and sees the corpse of his
- friend King Schultz dead on the filthy barn yard floor. The sight of
- the lifeless carcass of the doctor fills Django with pain and anger.
- Just then head overseer Ace Woody walks in the barn.
- Upon seeing Ace, Timmy hightails it out of there, Ace throws an empty
- bucket at the fleeing boy.
- ACE WOODY
- Git on outta here, boy!
- 133
- Django, slightly..swaying to and fro from the rope, looks upside down
- at Ace Woody, all dressed up in a black suit with a string tie, which
- makes him look a bit like Wyatt Earp.
- ACE WOODY
- So y'all bounty hunters,.huh?
- Django thinks, "How does he know?"
- ACE WOODY
- I knew there was something fishy 'bout, y'all.
- We found your wanted posters and book of figures
- in your saddle bags. I gotta say, ain't never
- heard of no black bounty hunter before. A black
- boy paid to kill white men? How did ya like that
- line of work?
- Django retorts, upside down.
- DJANGO
- Well, it turns out I was a natural.
- Ace woody laughs.
- ACE WOODY
- Boy, people 'round here are cross wit you.
- Ace Woody pulls up a tiny milking stool, and sits down on it, a body
- length from the hanging man.
- ACE WOODY
- See Boss Man was a rather beloved figure
- 'round here. Now he's dead as fried chicken,
- everyone 'round here blames you.
- Ace Woody opens his black suit jacket, we see not only does he wear a
- gun and holster around his waist, he carries a HUGE BOWIE KNIFE ina
- shoulder holster. He removes the big blade from its sheath.
- ACE WOODY
- Yep, Boss Man's gone. Poor Calvin. Poor
- goddamn Calvin. We're burnin' him in a few
- hours. At sunset. Should be real pretty.
- However ... . I don't think you're gonna be
- able to attend.
- Ace takes the Bowie Knife and THROWS IT...
- . IT LANDS stuck in the wooden barn yard floor, four inches from
- Django's face.
- Ace Woody slowly rises up from the tiny milking stool, and slowly walks
- the length of the floor between him and Django, pulls the blade out of
- the floor, and walks back to his stool, and sits back down.
- As he does this, he says;
- ACE WOODY
- Now I understand you didn't really have
- nuttin' to do wit it. It's that German
- 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;
- ACE WOODY
- 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.
- ACE WOODY
- You know Blackie, here at Candyland, I had
- me a real sweet deal. These last eleven years
- training Calvin's mandingos I made me more
- money I made my whole goddamn life.
- And no end in sight, neither.
- (BEAT)
- Then you came along. Knocked me right off
- that perch I was sittin' pretty on. You think
- Miss Lara gonna be as.interested in
- mandingos as her brother?
- Uuummmm...I don't think so. What I think,
- is you done fucked up my good thang.
- So when it comes to you, Django boy, you
- could say I gotta axe to grind.
- IJS
- He grabs a handfull of Django's genitals in his fist. He takes his big
- Bowie, and places the razor sharp BLADE against Django's nut sack.
- Django dances at the end of the rope like live bait on a fishing pole.
- ACE WOODY
- How's the blade of that Bowie feel against
- your ball sack, Blackie? A Bowie right off
- the wet stone. Now that's what I call sharp.
- Django dances some more ...
- ACE WOODY
- Yep nigger, I'm gonna snip them nuts.
- (BREATH)
- On the count of three.
- DJANGO SCREAMS:
- DJANGO
- NO!!!!
- ACE WOODY
- ONE ...
- DJANGO
- NO DON'T DO IT!!!!!
- ACE WOODY
- Got to do it, boy. TWO...
- DJANGO
- NO!!!! !
- Just then Stephen appears in the entrance of the barn/blacksmith
- facility. He's holding Django's clothes in a bundle under his arm.
- STEPHEN
- Cap't, Miss Lara lookin' for you. She wanna
- talk about the Old Man's funeral.
- Oh, and she changed her mind 'bout snippin'
- Django. She gonna give 'em to the LeQuint
- Dickey people.
- While still keeping a firm grip on Django's'junk, Ace Woody says;
- ACE WOODY
- Well she didn't waste a minute tellin' me.
- Ace Woody looks down at Django, both men get over the aborted emotion
- of what almost happened.
- ACE WOODY
- (TO DJANGO)
- How disappointing.
- 171
- ACE WOODY
- (TO STEPHEN)
- Where she at?
- STEPHEN
- She in the big house. The kitchen.
- Ace turns to leave, Stephen goes over to a big fiery furnace in the
- blacksmith barn, and begins poking a LONG POKER which lies buried in
- the fire.
- Django's clothes are dumped by the furnace.
- ACE WOODY
- You gonna look after our friend?
- As, he plays with the poker in the fire, he says;
- STEPHEN
- Oh yes sirree Bob, you know I am!
- 01' Snowball and a certain naked 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
- GLOWS ORANGE.
- STEPHEN
- Snowballs just makin' sure his talking
- stick is all nice and FROSTY.
- Ace Woody chuckles to himself as he exits the barn.
- Just Stephen with a red hot poker, and naked, bound upside down Django,
- alone.
- With the red hot poker in his hand Snowball approaches the naked
- hanging Django.
- STEPHEN
- I bet you an' that German thought y'all was
- on easy street for awhile - didn't ya?
- Y'all track Hildi to the Old Man.
- You get the idea to go to Greenville -
- look up the Ole Man there.
- (BREATH)
- That was a good idea. I bet y'all couldn't
- believe how easy it was. You meet Moguy, he
- buys your 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.
- 137
- STEPHEN
- (BEAT)
- And that's where you met me. And that's when
- you knew your goose was cooked.
- He TOUCHES Django's NIPPLE with the ORANGE HOT TIP of the poker.
- Unlike a lot of movie hero's, Django doesn't take torture silently and
- stoically. This 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.
- STEPHEN
- Now that fancy talkin' white man of yours
- didn't know what's what. He still thought his
- ass hadda chance. But like the One-Eyed Charly
- you are, you always know the end is near
- 'fore the white folks.
- With the ORANGE HOT poker, he BURNS OFF Django's other NIPPLE.
- The smell of burned flesh smokes in the air. Stephen makes a show of
- breathing it in his nostrils.
- STEPHEN
- Damn Nigger, you smell good.
- He walks behind Django with the poker.
- STEPHEN
- You know, when you was sittin' on that feather
- bed in the quest room in the Big House -
- After you slapped my ass to the floor
- You were sayin' something 'bout my BARE BLACK
- ass, and how you were gonna BUST IT.
- Remember that, Bright Boy?
- He places the HOT ORANGE END OF THE POKER hard against Django's BARE
- buttocks.
- Django SCREAMS!
- Stephen LAUGHS.
- Stephen walks away and sticks the poker back in the fire. He goes
- through Django's clothes and pulls out his tan pants. He tosses them on
- the floor by the hanging man.
- STEPHEN
- You leavin', that's what you can take
- with you.
- Stephen walks over to the hanging upside down man, and as he talks to
- him, he begins fondling Django's genitals.
- I31
- STEPHEN
- Now you were quite the topic of conversation
- for the last few hours. Seemed like folks
- never had a bright idea in their life, was
- comin' up with different ways to kill your
- ASS. Now most of 'dem ideas involved 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.
- STEPHEN
- 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.
- DJANGO
- Where's Broomhilda?
- STEPHEN
- She's all right for now. Miss Lara
- soft hearted on 'er. She gave her
- to Billy Crash. He was sweet on 'er.
- Now Billy Crash might not look or
- smell too good, but ain't nobody
- gonna bother her.
- Stephen limps away.
- CUT TO
- 137
- EXT - CANDYLAND - AFTERNOON
- The Caravan coming from The LeQuint Dickey Mining Company comes riding
- up to the plantation. It comes equipped with one CAGE WAGON (from a
- prison), ONE white trash PECKAWOOD named FLOYD to drive the wagon, a
- 2nd white trash PECKAWOOD named ROY to ride lead horse, and a white
- trash PECKAWOOD named JANO to bring up the rear riding horses ass, plus
- a pack horse that carries dynamite for the mine.
- The three peckawoods, who all talk with thick Australian accents, have
- stopped the caravan and are having a powwow.
- ROY
- It's chaos 'round here. Some 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.
- FLOYD
- You blacks line up.
- They do.
- FLOYD
- What's your names?
- CHESTER
- Chester.
- CHICKEN CHARLY
- Chicken Charly.
- RODNEY
- Rodney.
- FLOYD
- I'm.Floyd, this is Roy, and that's Jano.
- (POINTING AT
- CHESTER'S BUNDLE)
- What's that?
- CHESTER
- It's my stuff.
- FLOYD
- Throw it in the dirt.
- 1 40
- All three throw their only belongings in the dirt. Floyd takes the'hat
- off of Chester's head and sails it away. As well as ripping the
- corncob pipe out of Chicken Charly's mouth and tossing it in the dirt.
- FLOYD
- (to Chicken Charly)
- You won't be doin' much smokin' mate.
- (to all three)
- You are now the property of The LeQuint
- Dickey Mining Company. Git in the cage.
- This is going to be worse then the three even thought. They climb into
- the cage wagon. Floyd locks it behind them.
- Roy, the head Aussie, pays Billy Crash for the slaves, when we hear Ace
- Woody call out;
- ACE WOODY (OS)
- Hold on, we got another hammer swinger
- for ya.
- Ace Woody comes walking out of the barn with Django, shirtless and
- barefoot (just like we met him at beginning of the story), wearing his
- old tan pants, and his wrists bound by a rope.
- ROY
- We can't use that skinny bastard.
- ACE WOODY
- We got an arraignment with Mr.Dickey to take
- punishment niggers from time to time.
- ROY
- No one tole' me 'bout no arraignment.
- ACE WOODY
- Well if Mr.Dickey ain't takin' you into his
- confidence, I'm sure I don't know why.
- ROY
- Look, no one tole' me 'bout -
- ACE WOODY
- - No, you look peckawood, this 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!
- ROY
- Fine, stick 'em in the goddamn cage.
- "H
- Django sees the three mandingos in the cage. They see him too.
- Django stops Ace Woody.
- DJANGO
- Whoa whoa whoa, you can't put me in there
- with them. They'll kill me. What about all
- that -turning big rocks into little rocks-
- 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.
- ACE WOODY
- He can't go in there with them.
- FLOYD
- Why not?
- ACE WOODY
- They'll kill him.
- FLOYD
- I don't give a damn.
- ACE WOODY
- Well we do! He killed the fuckin Boss Man,
- we want the mine to grind him to gravel!
- ROY
- Jano, you're riclin' horses ass, you take this
- black and make sure he keeps up.
- JANO
- Oh, I'll keep 'em up.
- Jano takes the rope tired around Django's wrists.and ties the other end
- around his saddle horn.
- The LeQuint Dickey Mining Company caravan leaves Candyland.
- EXT - MISSISSIPPI COUNTRY ROAD - DAY
- The Caravan makes its way down a dirt road in pretty Chickasaw County.
- Stoic Roy riding lead horse, Floyd driving the cage wagon, Rodney,
- Chester, and Chicken Charly bouncing around inside the cage wagon, Jano
- riding horses ass, and Django being led on foot behind him.
- J42
- DJANGO
- (TO JANO)
- Hey boy!
- Jano ignores him.
- DJANGO
- I said, hey white boy!
- JANO
- Keep your mouth shut black, you ain't got
- nothing to say I wanna hear.
- DJANGO
- What's he pay you?
- JANO
- Who?
- DJANGO
- LeQuint Dickey?
- JANO
- You gotta few more things to worry about
- black boy, then what I get paid.
- DJANGO
- I ain't worried about it. I'm just curious.
- I mean, I'm the property of The LeQuint Dickey
- Mining Company, ain't I?
- JANO
- Yeah.
- DJANGO
- And you work for The LeQuint Dickey Mining
- Company, dont'cha?
- JANO
- Yeah?
- DJANGO
- Well, I know how much I'm gettin' paid,
- how much you gettin' paid? I mean like
- for instance, how much you gettin' paid
- for today?
- JANO
- Look black, it don't work like that. Dickey
- paid for our passage from Australia to here.
- We get a little money to send back home, and
- pay him back for the boat trip.
- I"
- DJANGO
- How long you been here?
- JANO
- 'bout two years.
- DJANGO
- And you ain't paid him back yet?
- JANO
- (DEFENSIVELY)
- No, not yet!
- DJANGO
- (LAUGHS)
- You a slave too, peckawood. They just bought
- your ass for the price of a boat ride.
- At least they didn't charge us for our boat
- ride ... . ha ha ha ha...
- JANO
- (YELLING)
- You shut up!
- Jano's hand grabs his riding crop, and he brings it up to strike
- Django, when the black man says to him;
- DJANGO
- How'd you like to make eleven thousand
- dollars?
- JANO
- What?
- Django steps closer to him.
- DJANGO
- How would you like to make eleven thousand
- dollars -- eleven thousand five hundred,
- actually?
- Roy, in the lead, yells back to Jano;
- ROY
- Goddamit Jano, stop fuckin with that black,
- and keep up!
- DJANGO
- Keep riding, just ride slower.
- They move forward, with Django walking beside Jano on his horse.
- R44
- DJANGO
- Back at that plantation Candyland, there
- was an eleven thousand five hundred dollar
- fortune just sittin there, and y'all rode
- right past it.
- JANO
- You be damned, blackie. We're not bandits.
- DJANGO
- That's what's nice about this fortune, it's
- not illegal. You can't steal it, ya gotta
- earn it.
- JANO
- If you got something to say, say it.
- DJANGO
- The eleven thousand five hundred dollar fortune
- waiting for you back at Candyland, is in the
- form of a wanted dead or alive bounty on
- Smitty Bacall and the Smitty Bacall Gang.
- JANO
- Who the fuck is Smitty Bacall?
- DJANGO
- Smitty Bacall is the leader of a murdering
- gang of stagecoach robbers, The Bacall Gang.
- There's a seven thousand dollar dead or alive
- bounty on him. And one thousand five hundred
- dollars for each of his three accomplices,
- Dandy Michaels, Gerald Nash, and Crazy Craig Koons.
- And all four of them gentlemen are sittin back
- there at Candyland...laughin their ass off...
- cause they just got away with murder.
- (BEAT)
- But it don't hafta be that way. You and your
- mates could get that money.
- JANO
- Who pays the money?
- DJANGO
- The Court.
- JANO
- The Court?
- DJANGO
- The Austin Texas Courthouse. Oh, and by
- the way, the court don't give a damn about
- how you kill 'em. You can shoot 'em in the
- back, from up on a hill, in the back of
- the head, in their sleep - don't matter.
- (CON'T)
- DJANGO
- (CON'T)
- Court doesn't care how you do it, just as
- long as you do it.
- JANO
- They.pay us to kill 'em?
- DJANGO
- No. You kill 'em, and they payyou for the
- corpse. Get it?
- JANO
- I think so... . what did these jokers do again?
- DJANGO
- Killed innocent people in a stagecoach
- robbery. I've got the handbill in my pocket.
- Django digs into his tan pants and pulls out the folded up Smitty
- Bacall handbill that Dr.Schultz told him to hang on to for good luck.
- He hands it to Jano.
- JANO
- What's this?
- DJANGO
- I told you, it's the handbill for Smitty
- Bacall and The Bacall Gang.
- Jano looks at the handbill.
- DJANGO
- Whatsamatter, can't you read?
- JANO
- I can read, I just don't have my glasses.
- I didn't take 'em with me, because I didn't
- think I'd be doin much readin' on a nigger run.
- DJANGO
- What about that cowboy fella in the lead?
- JANO
- Roy?
- DJANGO
- Can Roy read?
- JANO
- Look, get it straight black, I can fuckin
- read. I just don't got my glasses.
- CUT TO
- 146
- EXT -- BEAUTIFUL MISSISSIPPI COUNTRY TABLEAUX at DUSK
- The LeQuint Dickey Mining Co. Caravan has stopped, and pulled over to
- the side of the road.
- IN THE CAGE
- Rodney, Chicken Charly, and Chester sit in the cage, and watch through
- the bars this new turn of events without any.clear comprehension of
- what they're watching.
- What the three caged men are watching is the three Australian mining
- company employees and Django, off in the distance (where they can't
- hear what they're saying), having some sort of a discussion. That
- includes the still bound by the wrists Django showing the three men a
- piece of paper.
- INSERT: SMITTY BACALL'S WANTED DEAD OR ALIVE HANDBILL
- Roy holds it in his hand as he reads and Django talks.
- DJANGO
- I ain't no goddamn slave. Do I sound-like
- a 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.
- (TO ROY)
- You know I'm not on the manifest? All of you
- know I'm not suppose to be on this trip.
- But those four men, are still back there.
- They're still wanted. And that eleven thousand
- five hundred is still up for grabs. And the
- last thing they'd expect is y'all rid.in back
- and gittin it.
- Django is damn convincing.
- ROY
- What's your deal? You tell us who they are
- and we let ya go?
- DJANGO
- I ain't tellin' who they are. But, you give
- me a pistol, and a horse, and five hundred
- dollars of that eleven thousand five hundred,
- and I'll point 'em out to you.
- He's got these greedy sonsabitches right on the hook...he just needs
- one little push.
- 1Q7
- DJANGO
- Y'all wanna ask somebody if I'm tellin the
- truth, ask them mandingos. You can't put
- me in the same cage with them without them
- killin me. Why ya think that is? Ask them
- .am I a Candyland slave, or did I ride in
- there on a horse, with a white man, yesterday?
- CUT TO
- ROY AND FLOYD
- go to the Cage Wagon to talk with the three mandingos. As they walk,
- Roy continues to study the handbill.
- ROY
- (READING ALOUD)
- "Wanted, dead or alive. Smitty Bacall and
- The Bacall Gang. For murder and stagecoach
- robbery. Seven thousand dollars for Bacall.
- One thousand five hundred dollars for each
- of his gang members... ." This is a real handbill.
- FLOYD
- Just because the handbill's real doesn't
- mean that other bunch of malarky.is.
- ROY
- Why would a nigger slave have a wanted dead
- or alive handbill in his pocket?
- Floyd doesn't have an answer for that one.
- ROY
- That black's damn convincing.
- They get to The Cage O'Men. Roy startles them with a direct question;
- ROY
- (pointing, behind
- him, at Django)
- That black ride into Candyland yesterday?
- The Caged Men don't know what they're suppose to say.
- Roy removes the pistol from his belt, cocks back the hammer and points
- the barrel at the cage.
- ROY
- I'm gonna ask again, and remember I don't
- like liars. Is he a Candyland slave, or did
- he ride in with a white man yesterday?
- CHESTER
- Yeah. They walked us from the Greenville
- Auction and he rode on a horse with a
- white man.
- ROY
- This white man, was the black his slave?
- RODNEY
- He weren't no slave.
- FLOYD
- You sure about that?
- RODNEY
- Damn sure.
- Roy starts taking the possibility of an eleven thousand dollar windfall
- seriously.
- ROY
- What happened at Candyland?
- CHICKEN CHARLY
- Bunch of shootin, master got shot.
- ROY
- Who shot 'em?
- CHICKEN CHARLY
- The German.
- ROY
- And why did he do that?
- CHICKEN CHARLY
- The nigger and the German were actin as if they
- were slavers, but they weren't.
- ROY
- What were they?
- RODNEY
- Bounty hunters.
- Floyd is starting to get convinced.
- FLOYD
- Goddamn Roy, this could be big.
- (to the Slaves)
- Do you know who Smitty Bacall is?
- !Y,
- ROY
- (barking at Floyd)
- They wouldn't go by their outlaw names
- you idiot!
- CUT TO
- Roy and Floyd walk back to Django and Jano.
- ROY
- Okay black, you gotta deal.
- Jano reacts.
- DJANGO
- I got one more condition.
- ROY
- What?
- DJANGO
- When we get there, when the time comes,
- you let me help you kill 'em.
- Roy whips out a big knife, and cuts the rope around Django's wrists.
- ROY
- (LAUGHING)
- You got a deal, black.
- Django interrupts -
- DJANGO
- You gotta deal, mate.
- Roy really laughs this time. As does Django and the other two Aussies.
- ROY
- You're all right for a black fella!
- THE CAGE
- Rodney, Chicken Charly, and Chester watch the sight of the white men
- cutting the ropes that bound the black man's wrists, as well as them
- all sharing a laugh, with wonderment. "Who is this Nigger?"
- BACK WITH THE LAUGHING QUARTET
- ROY
- We'll give you that pack horse.
- DJANGO
- What's them saddle bags filled with?
- FLOYD
- Dynamite.
- !so
- DJANGO
- I.ain't ridin no horse with no goddamn
- dynamite on his back!
- ROY
- (CHUCKLE CHUCKLE)
- Yeah, I can see why. Jano take those sticks
- off that horse, and stick 'em in the 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;
- DJANGO
- Where's my pistol?
- ROY
- Floyd, you got that rifle on the wagon, give
- 'em your gun and your belt.
- Floyd unbuckles his gun belt, gun and all, folds it up, and walks over
- to Django handing it to him. Django accepts it.
- About the pistol, Floyd tells Django;
- FLOYD
- Now don't drop it now. I just had the sights
- fixed last month, it's perfect.
- Django holding the gunbelt in his hand.
- DJANGO
- That's good to know.
- Without taking the pistol out of the gunbelt, DJANGO SHOOTS FLOYD TWICE
- in the chest...
- Roy turns around...
- Django takes the gun out of the holster...
- . BAM...ROY is HIT in the UPPER BRAIN AREA and falls to the grass
- dead.
- Jano goes for the gun on his hip.
- Django SHOOTS ONE OF THE SADDLE BAGS over.Jano's shoulder...KAHBOOM!!!!!
- Jano is BLOWN TO SMITHEREENS...
- The KAHBOOM knocks Django on his ass...
- The CAGE WAGON
- Rodney, Chester, and Chicken Charlie come down from the shock of the
- blast. The image outside the bars of their cage is of DUST and SMOKE in
- the air, obscuring all visibility...
- THEN ...
- A sudden GUST OF WIND comes and BLOWS all the smoke and dust away,
- REVEALING in bright color focus...
- .DJANGO standing among the two dead Aussies, and whatever is left of
- Jano.
- He's shoeless and shirtless, but Floyd's pistol and gunbelt sit
- wrapped around his waist.
- He locks eyes with the three men in the cage..
- He then moves towards the wagon, and unhooks the mine company beast,
- and climbs aboard him bareback.
- He leans over and snatches the RIFLE that Floyd kept on the wagon seat
- next to him.
- Grabbing a fistful of the horses mane, he digs his heels into the
- beast's side. The pack animals SPRINGS TO LIFE under the new rider. By
- now it should be apparent that Django brings the best out of horses, and
- horses bring the best out of Django.
- From his high horse Django looks down at The Three Caged Men...
- .THEN...
- Using the rifle in a QUICK ONE HANDED MOVE he SHOOTS the lock on the
- cage door.
- He looks at the three men, especially Rodney, then says;
- DJANGO
- Throw up that dynamite.
- Rodney grabs a saddle bag full of dynamite and tosses it to Django on
- his Horse.
- Django wraps it around the Horse's neck, turns the beast around, and
- without saying another word, rides back in the direction of Candyland.
- The Three NOW FREE Mandingos, watch him ride away.
- "Who was that nigger?"
- CUT TO
- l.rz
- A GORGEOUS BIG SKY SOUTHERN PURPLE AND ORANGE SUNSET WE PAN DOWN from
- the sky and see in small black silhouette the Funeral Procession of
- Calvin Candie carrying the Coffin of the former Master up the hill on
- 'Candyland that leads to the Graveyard.
- A WHITE PREACHER walks out in front of the Procession.
- Then comes Calvin Candie's Coffin carried by eight pallbearers,
- Stephen, Moguy, Bartholomew, Ace Woody, Brown, Cody, and his best
- mandingos SAMSON and GOLDIE.
- The first mourner in line is Lara Lee dressed in a fancy black dress,
- wide brim black hat, black veil, and ever present black Mammy (Cora)
- crying at her side.
- CORA
- The sky's real pretty Miss Lara. Monsieur
- Candie think it real nice.
- LARA LEE
- Ah, bless you sweet innocent Cora.
- WE CROSS CUT WITH SHOTS
- of Django RIDING THE HORSE on the way back to Candyland. The bare
- backed black man riding the horse bareback, holding the RIFLE in one
- hand, a fistful of the horses mane in the other, hauling ass against a
- gorgeous SUNSET SKY, looks like an Indian.
- EXT - TRACKER SHACK/BUNKHOUSE - SUNSET
- The same GORGEOUS SUNSET SKY over the same 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.
- INT - TRACKER SHACK - SUNSET
- The FOUR TRACKERS are.missing the funeral, hanging out in the bunkhouse
- wearing their beards. Mr.Stonesipher, Lex, and Stew are playing a
- mountain card game which looks like poker, except the way you get rid of
- your cards is different. Instead of chips they play with, "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.
- EXT - WOODS-OUTSIDE THE SHACK - SUNSET
- INSERT: HORSE HOOFS walking then stopping. Django's bare feet jump on
- to the ground.
- IS3
- INT - DOG KENNEL - SUNSET
- The FOUR DOGS lay out... . when, Marsha hears something, and raises her
- head...
- SHIRTLESS DJANGO
- moves quietly through the woods.
- MARSHA
- rises to all fours, to listen and smell. out in the darkness, her three
- PALS continue to lay out.
- DJANGO BY A TREE
- he can see the bunkhouse entrance, the LONG HANDLE AXE buried in the
- chopping block, the kennel, and the one dog looking his way.
- MARSHA
- BARK!
- The Other Three Dogs wake up, and go on alert.
- Django disappears.
- INT - TRACKER SHACK - SUNSET
- They hear the barking inside.
- Mr.STONESIPHER
- Jake!
- Jake building his birdhouse.
- JAKE
- Yeah?
- Mr.STONESIPHER
- Check on Marsha.
- Jake, the one not playing the game, puts aside his hammer, and rises to
- check on them (these guys are very sensitive about their dogs).
- EXT - TRACKER SHACK
- As the BARKING gets louder, WE SEE A CLOSE UP of The Axe in the
- chopping block, and Django's hand REMOVING IT.
- JAKE
- opens the bunkhouse door-he sees directly a hundred feet in front of
- him, Django standing there with the axe. Just as he reacts...
- DJANGO ... . THROWS THE AXE...
- JAKE ... . IT HITS HIM IN THE FACE.
- After letting go of the axe handle, Django RUNS FULL SPEED toward Jake.
- Before the other three have really registered what's happening, Django
- has crossed the distance, and is YANKING The Axe out of JAKE'S FACE.
- And with AXE in hand, Django chases and fights with all three trackers,
- till after a point where he's CHOPPED DOWN TWO OF THEM, Lex, and Stew,
- and now there's only Mr.Stonesipher left.
- But Mr.Stonesipher has managed to draw his gigantic BUCK KNIFE, and is
- able to fight back against Django. You know Stonesipher's great with a
- knife, plus his fighting style is like one of his dogs, attack attack
- attack.
- Django uses the axe handle in a defensive position.
- The expert Mountain Boy begins SCORING BLADE CUTS on shirtless Django.
- The two men fight until they end up losing their weapons. Then it's
- just a fight of brute strength, and survival. Mr.Stonesipher is
- physically bigger then Django. But if Django's going to save Broomhilda,
- not to mention get revenge on all these Candyland 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
- STONESIPHER'S HEAD.
- That weakens Stonesipher.
- He HITS HIM AGAIN IN THE HEAD.
- That drops Stonesipher to his knees.
- He HITS HIM AGAIN WITH THE HAMMER ON THE HEAD.
- That puts the mountain man down on his back.
- He HITS HIM ONE MORE TIME WITH THE HAMMER TO keep him down for good.
- The Trackers are all dead.
- Only the dogs mad barking remains.
- EXT - The FUNERAL - NIGHT
- The Funeral for Calvin Candie is underway. The Preacher reads some
- words over him.
- EXT - TRACKER SHACK - NIGHT
- Django, half naked, splattered with blood from the axe murders, steps
- out of the shack. He takes a wash basin off the window sill, and walks
- over to the WATER PUMP.
- Marsha and her three friends-continue to BARK like mad.
- He PUMPS a couple of times, and water explodes into the bowl. He
- begins washing the blood-off'of himself. As he washes, he says outloud;
- DJANGO
- What ya doin around here, boy?
- Timmy steps from his watching place in the bushes.
- TIMMY
- I was just walkin' by.
- DJANGO
- Wanna help me out?
- TIMMY
- Sure.
- DJANGO
- My woman, Hildi, is with Billy Crash.
- You know where his shack is?
- TIMMY
- Sure do.
- DJANGO
- You show me?
- TIMMY
- Will I get in trouble?
- DJANGO
- Not by the time I get through killin'
- everybody.
- Timmy has never heard a black man talk like that. He believes him.
- TIMMY
- I'll show ya.
- THEN ...
- Django turns towards the barking dogs. He turns back to Timmy and asks;
- DJANGO
- You know what toadstools look like?
- 15-C
- TIMMY
- Sure do.
- DJANGO
- Go pick me a mess of 'em.
- INSERT: TIMMY picking TOADSTOOLS (POISON MUSHROMS).
- INSERT: DJANGO stirring a big pot of BEEF STEW with a wooden spoon in
- the tracker shack.
- Timmy comes'in carrying a bunch of toadstools inside his shirt.
- Django takes the toadstools and Mr.Stonesipher's BUCK KNIFE and CHOPS
- the mushrooms into tiny pieces.
- He tosses the tiny bits of poisoned shrooms into the beefy sauce, and
- mixes it up with the spoon.
- EXT - MARSHA'S KENNEL - NIGHT
- Django throws the pot of poisoned beef stew over the top of the kennel.
- It lands on the ground with a PLOP.
- The Angry Dogs, are nevertheless', still dogs, and greedily scarf up
- the stew.
- Django watches them wolf down their ultimate agony with a smile.
- DJANGO
- You bit your last nigger, bitch? Bite on that.
- Django lifts Timmy up on to the bare backed wagon horse.
- DJANGO
- First things first, boy. Take me to my horse.
- EXT - FUNERAL NIGHT
- The funeral is in full melodramatic bore.
- TNT - STABLE-BLACKSMITH - NIGHT
- Timmy brings Django to the stable on the Candyland grounds. Django goes
- straight up to the stall housing Tony and says hello. Tony's happy to
- see him. Django feeds him an apple he picked along the way for him.
- He turns and sees the body of Dr.Schultz lying in a heap.
- And Schultz's horse Fritz in the stable.
- DJANGO
- Saddle up Fritz and Tony.
- Timmy just stares.
- DJANGO
- Now, boy!
- Timmy hops to work.
- Django bends down over the body of Dr.Schultz, he takes Broomhilda's
- bill of sale and freedom papers out of his back pocket. He also
- searches for and finds Schultz's hidden DERRINGER, he keeps it in a
- holster around his ankle.
- As Timmy saddles the horses, he asks;
- TIMMY
- Do you feel bad for your friend?
- Django rises from the body of his friend.
- DJANGO
- Yeah, "I do.
- As Timmy saddles the horses he says;
- TIMMY
- I know just how ya feel. I lost a white
- friend once. He drowned in the lake.
- Django doesn't correct the difference between Dr.Schultz and a white
- friend, because there's nothing he could say to Timmy to make him
- understand.
- He goes over to his pile of clothes, which still lie next to the
- furnace. He Puts on his boots. His Green Jacket over his bare chest.
- And finally his hat.
- EXT - The FUNERAL - NIGHT
- The service is over, everybody is hugging each other and holding hands,
- and beginning to leave.
- INT - BILLY CRASH'S SHACK - NIGHT
- Billy Crash is in bed 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;
- BILLY CRASH
- It's gonna be real nice 'round here now
- the 'ol man's gone.
- (CON'T)
- 'SR
- BILLY CRASH
- (FUCKS)
- Would you stop your galdarn cryin'!
- He stops fucking in frustration
- BROOMHILDA
- I can't.
- BILLY CRASH
- Now girl, I'm tryin' to be nice.
- BROOMHILDA
- I can't help it! I'm really sad!
- He hops off her and yells at her.
- BILLY CRASH
- Well goddamit, you're a nigger! Life is sad
- for niggers! Git use to it!
- (CALMING DOWN)
- Look you know Me, Hildi. I'm an ass buster
- from way back. But you know I've always been
- sweet on you. I don't wanna bust your ass.
- So don't make me! Now I'm gonna go 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...
- .THEN...
- She HEARS an IMPACT SOUND, and a MUFFLED "Ooomph" SOUND.
- And through the spaces in the wooden planks that act as walls in Billy
- Crash's shack, she sees a figure fall to the ground.
- Then she sees another figure through the wooden planks move towards the
- front door.
- CU BROOMHILDA
- Her face, stained with tears, watches the door.
- A soft "Knock Knock" on the door.
- BROOMHILDA
- (SOFTLY)
- Yes?
- The VOICE on the other side of the door, says;
- DJANGO'S VOICE (OS)
- Hey Little Trouble Maker.
- 157
- She hops out of bed, and throws open the door...
- THERE HE IS,
- she runs into his arms.
- EXT - The FUNERAL - NIGHT
- The TWO OLD SLAVE.GRAVE DIGGERS are throwing the first shovelfuls of
- dirt on Monsieur Calvin J. Candie's coffin.
- The participants of this ritual, begin to move away from the grave. The
- funeral is a private affair, just the Candie Family Unit, some of the
- overseers, and the slaves. No one from town, except the Preacher.
- The SLAVE MOURNERS begin. to move towards their living area, all saying
- goodbye to Miss Lara. Miss Lara makes a big show of saying goodbye to
- them.
- A little cognizant of the Candie Family unit begin the walk off the
- hill back to the big house.
- EXT - BILLY CRASH'S SHACK - NIGHT
- Django with Broomhilda. Billy Crash lies dead in the B.G., Stonesipher's
- Buck Knife buried deep in his chest. He hands Broomhilda her papers.
- DJANGO
- Here's your bill of sale, and freedom papers.
- No matter what happens to me, hold on to these
- and get out of the south.
- BROOMHILDA
- What's gonna happen to you?
- DJANGO
- Ain't nuttin' gonna happen to me honey,
- I'm just sayin'. Now go to the stable, little
- Timmy's got our horses .saddled. Your horse is
- named Fritz. He's a damn fine horse. Meet me
- around the side of the big house.
- BROOMHILDA
- But what about you -
- DJANGO
- - Don't worry about me. I'll see you, with
- Timmy and the horses, by the big house.
- He sends her on her way.
- Django looks up and sees the silhouettes of the funeral party walking
- down hill heading back for the big house.
- (60
- EXT - The TRAIL BACK TO The BIG HOUSE - NIGHT
- The Family unit of The Late Calvin Candie and his sister Lara Lee walk
- back to The Big House for a drink. This Candie Family Unit consists of:
- LARA LEE (unarmed) in her black flowing funeral dress.
- CORA (unarmed) her mammy, walks with Miss Lara, holding her hand.
- STEPHEN. (unarmed) dressed in his fancy black velvet version of his
- normal House 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...
- WHEN ...
- The front of The Big House
- EXPLODES!
- knocking the.Candie Family Unit flat on their collective asses.
- BROOMHILDA and TIMMY
- can't believe their eyes.
- I6 I
- WOOD - STONE - PLASTER - DIRT - DUST - GLASS - SMOKE - GUNPOWDER
- hang in the air.
- The CANDIE FAMILY UNIT
- starts coming to their senses. Nobody was killed, or even seriously
- hurt (unless you count eardrums), just stunned.
- As their minds try and grasp with what just happened, their eyes look
- up from the ground, and try and see through the smoke and dust.
- The'SMOKE and DUST thins a little, and we see inside the smoke the
- mansion has been obliterated, but The Big House front steps remain.
- CUE cool MUSIC.
- STEPHEN sees something in the smoke, squints.
- ACE WOODY sees something in the smoke, squints.
- BROWN and CODY see something in the smoke, squint.
- In the SMOKE and DUST we begin to see a FIGURE, walking towards them.
- ACE WOODY squints at the FIGURE.
- MOGUY sees the.FIGURE.
- CORA attending to Miss Lara sees the FIGURE, then MISS LARA sees it.
- The FIGURE moves further out of the SMOKE and DUST.
- ACE WOODY, on the ground, his hand starts to move towards the gun
- around his waist.
- Then he sees The FIGURE.is carrying something in his left hand...
- .it's Floyd's Winchester, he raises it, and points it at Ace.
- ACE WOODY's hand moves away from his gun.
- The FIGURE steps out of the SMOKE. It's DJANGO dressed in his DJANGO
- OUTFIT.
- STEPHEN, ACE WOODY, MOGUY, LARA LEE, BARTHOLOMEW, CORA, BROWN and
- JINGLE BELLS CODY, SAMPSON or GOLDIE...Nobody can believe Django's
- standing there.
- He stands at the top of the front steps of The Big House, looking down
- at The Candie Family Unit, all lying on the front lawn, Winchester
- rifle held casually in his left hand. His right hand held casually by
- the gun on his hip.
- The CANDIE FAMILY UNIT
- all on their ass in the grass, look up at Django with a mixture of
- Wonder, Fear, and Hate.
- ICZ
- WE MOVE INTO A ROMANTIC CLOSE UP OF BROOMHILDA
- as she watches this.
- As DJANGO looks out at the ten stunned enemies spread out on The Big
- House front lawn,. and as they look back from the grass at him.
- The black man in the cool green jacket says;
- DJANGO
- I bet I.know what you're thinkin', Ace Woody?
- You'.re thinkin', why didn't I'cut off that
- niggers nuts when .1 had the'chance? Right?
- ACE WOODY
- I guess I shoulda'.
- DJANGO
- Yes you should of.
- He points the Winchester at the people spread out on the grass.
- DJANGO
- Everybody stand up!
- It's now Django who gives the orders. They stand up quickly.
- Django, with the rifle pointing at them, just looks at The Candie
- Family Unit. Enjoying their collective hatred.
- THEN...
- He tosses the rifle away.
- Then moves his right hand by his gun belt in his holster, as he takes a
- SHOWDOWN STANCE.
- EVERYBODY realizes DJANGO's intentions.
- Even BROOMHILDA and TIMMY.
- DJANGO looks down from his position at the top of The Big House steps
- at the ten people, and says;
- DJANGO
- All black folks, take ten steps away from
- the white folks.
- DJANGO's eyes go to STEPHEN, who looks back at him.
- DJANGO
- Not you Stephen. You're right where you
- belong.
- 163
- The Black Folks, Cora, Bartholomew, Samson, and Goldie begin taking ten
- steps away from the White Folks and the gunfight.
- LARA LEE can't believe Cora's leaving her.
- CORA is "I'm sorry Miss Lara, but I never did nuttin' to that nigger."
- DJANGO looks to STEPHEN, and takes Schultz's hidden Derringer out of
- his pocket.
- DJANGO
- (TO STEPHEN)
- Let's see if you can handle this as well
- as you can my nuts?
- He tosses the Ole Man the tiny gun.
- DJANGO
- (TO EVERYBODY)
- Somebody give Miss Lara a gun.
- BROWN gives LARA LEE one. of his two guns.
- BROWN
- (TO DJANGO)
- Can I at least cock it for her?
- DJANGO
- Yep.
- BROWN cocks back the hammer of the peacemaker, and puts it in her hand,
- and points it towards the ground.
- BROWN
- (to Lara Lee)
- Okay Miss Lara, keep it pointed down till
- the shootin' starts. Then bring it up as
- fast as you can.
- LARA LEE CANDIE-FITZWILLI can't come to grips with what she's.in the
- middle of, who she's facing, what's in her hand, or what's about to
- happen.
- DJANGO
- (to the six)
- Make your play hillbillies.
- The MUSIC SWELLS.
- 16'F
- EVERYBODY, except for LARA LEE is READY:
- DJANGO ACE WOODY
- STEPHEN MOGUY
- BROWN CODY
- LARA LEE
- The PEOPLE watching on the side:
- BARTHOLOMEW SAMSON BROOMHILDA
- CORA GOLDIE TIMMY
- EVERYONE'S ready, but no one wants to start this party...
- TILL...
- ACE WOODY starts to go for the gun in his holster, and STEPHEN starts
- to raise his Derringer.
- But it's no contest.
- As soon as Django saw any movement from the six in front of him,
- Floyd's Pistol was QUICKSILVER FAST in. his right hand, as his left hand
- FANNED the Pistols Hammer, SHOOTING INSTANTLY all five White People (and
- Stephen) standing in front of him.
- They all fall to grass in different ways..
- It was never any contest, they and WE (the audience) just didn't know
- HOW GOOD DJANGO was.
- FLASH ON
- DJANGO showing off his incredible FAST DRAW and ACCURATE MARKSMANSHIP
- to Dr.Schultz.
- Dr.SCHULTZ
- (SMILING)
- You know what they're going to call you,
- my boy? "The fastest gun in the South."
- BACK TO SHOWDOWN
- DJANGO stands on the top steps of what's left of'The Big House, looking
- down at The Candie Family Unit, who all lay dead or dying on the
- Candyland front lawn.
- The WITNESSES can't fathom what they'just witnessed.
- /65
- All the CANDIE FAMILY UNIT lies on the grass SHOT. But some are still
- alive. We HEAR MOANING coming from LARA LEE, CODY, and MOGUY.
- DJANGO sees this.
- The Black Man reaches behind him and comes out with a DYNAMITE STICK.
- He tosses it on the grass among the bodies.
- He takes aim with his pistol; and FIRES.
- It EXPLODES.
- Finishing off what was left of the Candie Family Unit, not to mention,
- blowing the limbs off of many of them.
- The LAWN is SILENT.
- DJANGO'S PISTOL goes back in its holster.
- Django walks down the front steps of The Big House, feeling tremendous
- satisfaction in the wrath he just wroth on Candie and Co.
- He removes Dr.Schultz's tiny Derringer from Stephen's dead hand,
- putting it in his pocket. Then heads over to where Broomhilda and Timmy
- wait for him with Fritz and Tony.
- As he,walks up to Broomhilda on Fritz, he says;
- DJANGO
- Hey Little Trouble Maker.
- BROOMHILDA
- Hey Big Trouble Maker.
- DJANGO
- Down, boy.
- Timmy hops off of Tony.
- Django climbs aboard Tony. He says to Broomhilda;
- DJANGO
- I tole' you ain't nuttin' gonna happen
- to me.
- BROOMHILDA
- Yes you did.
- DJANGO
- Girl, you're gonna hafta start trustin' me.
- BROOMHILDA
- I'll keep that in mind.
- –º66
- Django looks down to Timmy.
- DJANGO
- Thanks for the help, boy.
- He reaches into his saddle bag, and pulls out an apple, and tosses it
- down to Timmy.
- DJANGO
- That's for you. Good luck Tim.
- (he points to
- the Northern Sky)
- The North star, is that one.
- He looks to Broomhilda on Fritz.
- DJANGO
- You gonna hafta keep up, ya know?
- BROOMHILDA
- You won't wait for me.
- DJANGO
- Better not.
- BROOMHILDA
- You won't.
- DJANGO
- (SMILING)
- Better not.
- BROOMHILDA
- (SMILING)
- You won't.
- They kiss.
- Then, astride Tony, Django leaves Candyland having rescued his
- Broomhilda from her Mountain, her Ring of Hellfire, and all her
- Dragons.
- Django Unchained
- Writers : Quentin Tarantino
- Genres : Adventure Drama Western
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- Internet Movie Script Database
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