King Schultz's introduction scene where he encounters the Speck Brothers. He drops the lantern he was holding near his face, killing the brothers' night vision of him, and quickdraws and outshoots them in the dark. He then sets Django and his fellow slaves free.
The newly freed slaves that Django was with all taking their vengeance upon the last Speck brother. They don't even bother giving his attempts at bargaining for his life a moment's thought before blowing his brains out.
The lead-up to the above is awesome. They turn around and look at the remaining Speck, throw off their shawls just as Django did moments before and menacingly approach their soon-to-be former master.
Schultz already had part of his Establishing Character Moment during his very first scene, but his true one is when he kills the Sheriff of Daughtrey in broad daylight in the middle of a busy street. Naturally, a US Marshall shows up with a posse and demands his surrender. Schultz calmly drops his weapons and walks into the midst of dozens of armed men. He explains that the sheriff was actually a known criminal, wanted dead or alive, and that killing him was within Schultz's purview. He sums up by mentioning that the Marshall owes him $200. Django describes it best:
Django:[very impressed] I'll be damned!
Django stopping "Big" John Brittle from whipping a slave, and then subsequently shooting him, and then taking Big John's whip to Little Raj, finally shooting him with his own gun.
The first of these is capped off with Django's fantastic Bond One-Liner to Big John. "I like the way you die, boy." With one bullet and one well-placed quip, Django establishes how far he's come from the helpless slave he was introduced as.
And then he absolutely beats the shit out of Little Raj with the whip before finally putting him out of his misery with a bullet to the head.
There's also the moment after that where Ellis gets sniped from across a cotton field with a rifle. His chest explodes, spraying the cotton flowers with red. A very effective bit of cinematography.
The trap laid for Bennett's gang of pre-Civil War KKK, consisting of filling the dentist's wagon with dynamite and then shooting it when they arrive.
Django shooting down Big Daddy in a single shot with a rifle he had never used before while Big Daddy was riding a horse several hundred meters away in the dark. Schultz then realizes that Django has Improbable Aiming Skills.
Schultz:(awestruck) The kid’s a natural!
Broomhilda deserves some credit for still trying to escape Candieland on her own. Even though she wasn't successful, the fact that she even tried after everything she'd already been through shows a lot of determination and courage.
Schultz ordering the Candieland harpist to stop playing Beethoven, incensed that his culture is being appropriated by such vile people.
Schultz' Shut Up, Hannibal! retort to Candie's gloating, informing him that Alexandre Dumas, the guy who wrote Candie's favorite book, is black. (Well, one-fourth black, specifically part-Haitian, but according to the one drop rule, it still counts.)
What makes this more awesome is that in the previous scene, Candie had delivered a hateful "The Reason You Suck" Speech to Django and all black people. The basis of Candie's argument is phrenology and his "discovery" that all black people have three dimples located in the back of their skulls, which "proves" black people's brains are hardwired towards being naturally subservient. Candie also states that the dimples in the back of white people's skulls "prove" white people to be naturally smarter and more creative. Schultz blows Candie's nonsense argument entirely away with the simple reveal that a black man wrote one of the most popular and beloved books of all time.
The scene has an element of Genius Bonus if you know phrenology has long since been discredited as pseudoscience. It's possible for the audience to take in a sense of pleasure at hearing Candie blather on with his ignorant bullshit while knowing how utterly wrong he is, especially considering that by 1858 phrenology had already been widely dismissed in the U.S.
This scene is even more awesome with "The Payback/Untouchable" by James Brown and Tupac Shakurplaying in the shootout. As soon as several mooks burst through the front door and open fire on the property's maid and butler, the song immediately kicks in as Django starts gunning them down.
The first fight in Candieland. Dr. Schultz goes for Honor Before Reason, but takes out Candie in a great way, even dropping a "Facing the Bullets" One-Liner before getting blown away. Django takes out The Dragon, and proceeds to demolish the Candieland gunfighters, being forced to give up only when Broomhilda is threatened.
After the shootout at Candieland, Django gets captured and is sold back into slavery to the legendarily cruel LeQuint Dickey Mining Company. Things look bleak for him, but how does he manage to evade such a gruesome fate? With some quick thinking, improvisation and a silver tongue. he wraps the greedy slavers around his finger by enticing them with the $11,500 Smitty Bacall bounty, gets them to hand over a gun with which he kills the slavers (in the process freeing the other slaves that backed up Django's story as a bounty hunter), and runs back to Candyland to rescue his love.
After Django kills the slavers and blows up Tarantino, he walks out of the cloud of smoke in slow motion like a badass while John Legend's "Who Did That to You?" blares. Hell yes.
Django's vengeance upon the trackers that set their dogs on D'Artagnan.
After the slaughter, the badass shot of Django riding across the countryside on the back of a white horse, brandishing a rifle above his head as he heads back to Candieland with vengeance in his soul. You could frame that shot and mount it on a wall in a gallery.
Django's final attack on Candieland is nothing short of awesome.
Django: Seventy-six years, Stephen, how many niggers you think you see come and go, huh? Seven thousand? Eight thousand? Nine thousand? Nine thousand, nine hundred and ninety-nine? Every single word that came outta Calvin Candie's mouth was nothin' but horseshit. But he was right about one thing — I am that one nigger in ten thousand!
Made better by the fact that (a) Django is dressed in Calvin's classy burgundy suit he wore the first time they met and (b) he lights the TNT with Candie's cigarette holder, and even holds on to it after blowing the mansion to smithereens. Now THAT is a truly awesome moment.
The explosion itself, with Django standing calmly in front of it, shades, cigarette holder, and all, then turning back and grinning, is the very definition of a CMOA.
Another subtle accomplishment is Django going from reading "seven thousand" as "seven-zero-zero-zero" to properly (and badassedly) using the relatively complicated number "nine-thousand nine-hundred and ninety-nine" in the span of one winter.
As soon as several mooks burst through the front door and open fire on the property's maid and butler, the song immediately kicks in as Django starts gunning them down.