Cognizant

On Wednesday, veteran casting associate Andy Henry reportedly manipulated actresses into disrobing during private, paid auditioning sessions. According to The Hollywood Reporter, this behavior got Henry fired from his CSI casting job and his own firm in 2008, as it was revealed he was using this strategy on aspiring actresses seeking costarring roles in the show. Sadly, some women fell for Andy’s “coaching technique”, as they felt compelled to please him since he was the key to landing a speaking role, The Hollywood Reporter claims. Since the firing was not publicly disclosed, Henry continued to work on several major motion pictures including Percy Jackson & the Olympians: The Lightning Thief, The Descendants, The Amazing Spider-Man, and Elysium. Five women have made the decision to come forward to explain their unpleasant experiences with Andy. These women became connected thanks to the #MeToo campaign. Sadly, the women feel they were preyed upon. In addition, during these “coaching technique” sessions, Henry used the same scene from a 2006 episode of the procedural, where a character struggles with a rare genetic disorder that causes excess hair growth. On meeting the casting professional at Reel Pros, actress Jenny Kern recalled: "His line was, 'It's a really challenging scene and I can tell you can handle it, but it definitely requires more work than what we do here. Do you have any time to stay afterward to push a little harder with [the material]?' I was really flattered." Andy had Jenny perform the scene several times before suggesting that, in order to achieve “more vulnerability,” she should take her bra off. According to Kern, the casting associated became upset with the situation and "incrementally asked [her] to take [her] clothes off." Jenny eventually complied so that she could get the meeting over with. After manipulating Jenny into her underwear, Andy began to improvise a scene that was highly inappropriate. She continued: "He started saying things, improvising as this detective character: 'I can see your tits,' 'I can see you shave your pussy.' He did it until I finally cried." He ended the meeting by thanking Jenny for her acting performance. Tessa Gross had another run-in with Andy while at Culver City’s acting center ITA. She claimed: "He prefaced by saying, as he'd playact frustration, running his hands through his hair, 'This is going to seem super-crazy, but don't think it's super-weird.' That he works with actresses all the time. His thing was that [the performance] would feel more authentic if you can feel your nipples against your clothes. I thought, 'I need to get out of here.' But there's also this sick actor part of me that thought, 'I need to get out of here as friends.'" Tessa chose to leave the meeting, as she was pregnant and not eager to show her baby bump to a stranger. Gross later emailed ITA about Andy’s behavior and later received the following reply. "Dear God! Just tell me that no one asked you to disrobe!!!" Andy’s advances left an impact on his victims as many began to doubt their future as an actress following the upsetting situations. Catherine Black, who rebuffed Henry’s request at AIA Actor’s Studio, said: "It really planted a seed in my head, that maybe I wasn't good enough. Of, what did I do wrong? It made me feel ashamed." Through AIA, Andy reportedly met another victim, who he allegedly groped. Mandy June Turpin claims Henry touched her shoulders and brest during their sessions. "I thought, 'Thank God, somebody said something.' You're afraid to speak up. You're someone without credits. And he went on to work again in the business anyway." Andy also reportedly preyed on an intern who worked at the casting firm where he worked, named Ulrich/Dawson/Kritzer. Reportedly, Henry offered to give aspiring star Jacqueline Mueller private acting advice back in 2008. Using the same CSI scene, the casting expert advised the intern to take off her bra, a request she followed. When Andy told her to unzip her sweater, Mueller realized the situation had become one of misconduct. Jacqueline remembered: "Then he asked me to unzip my sweater. If I'd unzipped it, I would've been topless. I felt disgusted and bamboozled." In order to "loosen" her up, Andy then offered Mueller a glass of whiskey. She quipped: "I don't remember him reaching out to the men in the office to 'help' them." Ugh. Andy has since responded to the allegations with the following statement: "Nine years ago, I tried what I thought was a coaching technique, but which I learned very quickly was foolish and foolhardy. It was brought to light almost immediately, and as you were correctly informed, I was terminated from my employment in 2008 as a result. I was then, and remain to this day, profoundly sorry about these incidents. I took responsibility right away for using nudity as a technique to explore the vulnerability portrayed in a scene, without being cognizant of the potential damage to the human being in the room. I was not aware of the allegations of fondling until now, and do not believe or recall that such a thing happened. I never meant to make anyone feel pressured into doing anything, nor did I ever consciously intend to hurt anyone. My job was gone, my standing in the entertainment community was greatly lowered, and my career options were severely curtailed. I lost my marriage and declared bankruptcy as a result. I was punished for my actions, but I have spent the last nine years rebuilding myself into a person who could never do such a thoughtless and careless thing again. I have formally converted to Judaism, I have dedicated my life to the service of God and to trying to make some repair in this world. And I have striven to live and work every day as honorably and as honestly as possible. I am, again, inexpressibly sorry for the pain that these incidents caused." You can watch a 2010 interview with Andy Henry below: What do you think? Discuss this story with fellow Project Casting fans on Facebook. On Twitter, follow us at @projectcasting.

Disney Conspiracy Theory - A new lawsuit suggests Disney fired American workers for cheap foreign labor. Two former Disney employees are suing Walt Disney World in Orlando, Florida, accusing the company of colluding with a pair of global consulting companies to replace them with foreign workers - who the former employees had to train. In October 2014, Disney laid off over 200 technology workers, mostly in Orlando. In a statement, Disney spokeswoman Jacquee Wahler explained that the company was “restructuring our global technology organization to support future innovation and new capabilities.” [caption id="attachment_87409" align="aligncenter" width="500"] Real Life Design / Shutterstock.com[/caption] A few months later, the New York Times reported on those Disney employees being forced to train their foreign employees. In addition, those new employees were given special H-1B visas (Only 85,000 such visas are granted per year for special circumstances.) According to federal guidelines, the visas are intended for foreigners with advanced science or computer skills to fill discrete positions when American workers with those skills cannot be found. Their use, the guidelines say, should not “adversely affect the wages and working conditions” of Americans. Because of legal loopholes, however, in practice, companies do not have to recruit American workers first or guarantee that Americans will not be displaced. Too often, critics say, the visas are being used to bring in immigrants to do the work of Americans for less money, with laid-off American workers having to train their replacements. “The program has created a highly lucrative business model of bringing in cheaper H-1B workers to substitute for Americans,” said Ronil Hira, a professor of public policy at Howard University who studies visa programs and has testified before Congress about H-1B visas. Those employees who were laid off were encouraged to apply for other jobs at the company, but rarely were they ever re-hired. None wanted to be named at the time, but now some of the former employees are suing Disney. According to reports, Leo Perreo and Dena Moore initially filed their lawsuits separately. However, on Monday, the submitted a motion seeking a class-action status. This would be the first time in history that American workers have taken both their former employer and outsourcing companies to federal court in such a case. Perrero and Moore have both accused Disney and the consulting companies it hired to replace them, HCL and Cognizant, of colluding to bypass H-1B guidelines. The Department of Labor requires employers to hire foreigners on such visas to declare that doing so “will not adversely affect the working conditions of U.S. workers similarly employed.” “Was I negatively affected?” Moore asked. “Yeah, I was. I lost my job.” What do you think? Share with us your thoughts in the comments below!

Project Casting links to a growing library of free, downloadable scripts, television scripts, movie scripts, screenplays, perhaps a few soon-to-be-released movies, television, anime, un-produced and radio shows. Project Casting is the ultimate screenwriters, Training Actors, and fan's resource. Django Unchained Movie Script With the help of a German bounty hunter, a freed slave sets out to rescue his wife from a brutal Mississippi plantation owner (IMDB). Director: Quentin Tarantino Writer: Quentin Tarantino Stars: Jamie Foxx, Christoph Waltz, Leonardo DiCaprio 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.

NBC's Voyage to Enthrall Viewers with Grosse Pointe Garden Society People worldwide, hold your breath and brace yourselves for an exceptional thrill as NBC takes a stimulating step closer to the much-awaited primetime season. Embracing innovation and creativity, the network plans to introduce a groundbreaking series called "The Grosse Pointe Garden Society." Straight out of the bustling production kitchens of Warner Bros. Television and Universal Television, viewers brace themselves for another binge-worthy narrative. Helming this series is an icon of creative writing – Davita Scarlett; synonymous with creativity and ingenuity. She has joined hands with Erin Cardillo and Richard Keith crowned for their work on "In the Dark" and "Life Sentence," bringing an enchanted touch of their storytelling magic. At the epicenter of this new offering from NBC, is a captivating story that resonates through the downtrodden journey of a young woman from the edges of society to its core. Defined by her predicaments and desires, she redefines herself in the world of unquestioned privilege and intricate social networks in Grosse Pointe, Michigan. The drama merges divergent worlds in a striking narrative that will have viewers on the edge of their seats. With the writers' successful track record and NBC's unwavering commitment to producing high-quality content, the "Grosse Pointe Garden Society" promises to add a fresh perspective to ongoing primetime programming. It's no surprise that a great expectation has riled up ever since its announcement. The brains behind the concept, Davita Scarlett received her first break as a production assistant on the Wife Swap show and continued her journey through series like Queen Sugar and Council of Dads, showcasing her diversified talent. Partnering with the dynamic duo of Erin Cardillo and Richard Keith, who have earned stripes with their skills on shows like Significant Mother and Fuller House, we can expect nothing less than a masterpiece. The series is served on a silver platter by reputed production giants – Warner Bros. Television and Universal Television, leaving no stone unturned in effort and creativity. Both production houses are well-acclaimed for their notable contributions to the television industry and their relentless pursuit to deliver compelling and intriguing stories. With the production expertise of Joanna Klein's The Bridge and the writing prowess of Scarlett, Cardillo, and Keith, the Grosse Pointe Garden Society is poised to be a significant addition to NBC's ensemble. The show promises not just to be another series on the block but a spotlight of empowerment, highlighting the journey of a woman determined to define her destiny. The Grosse Pointe Garden Society is much more than a typical primetime series, focusing on real-life issues to make the audience reflect upon their societal values and privileges. The drama presents an intriguing narrative, involving a stark contrast of societal disparity and portrays Grosse Pointe's intricate society network. In the vast sea of entertainment, the series plans to maintain NBC's unwavering commitment to produce high-quality content. The storyline's unique representation emphasizes diversity, making the audience appreciate the different perspectives it offers. There's already a buzz around town about this forthcoming show, and rightly so. It's not every day that a grand collaboration like this infrastructure on the television platform. NBC's decision to launch this fresh narrative reflects the network's dedication to introducing highly engaging, sophisticated, and pulsating storyline that keeps viewers glued to their seats. The announcement of the Grosse Pointe Garden Society has undoubtedly carved a mark for itself. Yet, the true anticipation lies in the experience that the series unveils. As we step into a new era of television, where narratives are becoming more profound, and production is increasingly innovative, this forthcoming series is sure to leave an indelible impression on every viewer. Buckle up for a delightful ride as this series prepares to release a stellar performance soon. With compelling characters, a gripping storyline, and a unique insight into a diverse world, the Grosse Pointe Garden Society is all set to redefine primetime television's landscape. We wait with bated breaths to see what's in store for us from the pens of Scarlett, Cardillo, Keith, and the entire team behind this intriguing television project, under NBC's commendable aegis.