THE WINCHESTERS "PILOT" Written by Robbie Thompson
Based on characters created by Eric Kripke
CHAOS MACHINE PRODUCTIONS WBTV CW NETWORK
ACT ONE
CLOSE ON A PIECE OF PAPER A hand enters frame. Begins WRITING. And we hear... DEAN (V.O.) If I’m gonna do this, I gotta do it the right way. And that means
telling the truth. The truth about my Mom and Dad. It starts the way everything starts with my family...
EXT. WOODS - NIGHT CHYRON: BROKEN BOW, OKLAHOMA. MARCH 22nd, 1972. Full moon. Mist drifting through old trees. Spooky. DEAN (V.O.) ...with a hunt. A FIGURE steps into view, moving with purpose toward... EXT. OLD HOUSE - NIGHT Left for dead ages ago. Laying in the woods like a skeleton. The figure clicks on a flashlight. Moves into -- INT. OLD HOUSE - LIVING ROOM - NIGHT The figure searches without making a sound. Total pro. As the figure exits the kitchen... a SHADOW wipes the frame. Some... THING... is inside this house. The figure runs its light over shelves filled with books with odd symbols on their spines, and finally, an ornate box with a SYMBOL on its lid. Drawn to the box, the figure moves toward it... while a hand reaches for the figure from behind! The figure WHIPS around just as they’re about to be attacked, grabs the hand at the wrist, yanks, twists and FLIPS their would-be assailant around, slamming them to the ground. The figure’s dropped flashlight spins on the ground, landing at last on the figure’s face, and we finally see... MARY CAMPBELL. 19 years old. The anger on her face shifts to recognition. She smiles, looking down at -- SAMUEL CAMPBELL. 40s. Thick build. Thinning hair. Mary’s Dad. SAMUEL You’re grounded.
(CONTINUED)
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CONTINUED:
Mary rolls her eyes and helps Samuel up. MARY I’m 19. You can’t ground me. SAMUEL The hell I can’t.
Samuel grabs the ornate box. He presses a series of pressure points. PSHH . It opens... inside? A BUSINESS CARD. Nothing printed on it but an address. 629 Cornelia, Lawrence, Kansas. MARY That address is back home. SAMUEL That address is none of your business. MARY
Or Mom’s apparently. Since when do you work cases alone? What happened to “we hunt as a family?” SAMUEL A family you want to quit. MARY I don’t want to quit the family -- SAMUEL You said you want to stop hunting. The Campbell family has been hunting since before they -- MARY -- crossed over on the Mayflower. You’ve mentioned that. About a thousand times. But just because they did it... why do we? SAMUEL I just told you. It’s who we are. MARY Well, what if that’s not who I am?
Samuel isn’t hearing that. SAMUEL
And you came to me first to talk about this because you know your mother would have --
(CONTINUED)
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CONTINUED: (2)
MARY I came to you first because you usually listen before the yelling starts. Instead you ran off before we could finish our conversation. SAMUEL That’s why you’re here? Fine. Finish what you have to say.
Mary sighs.
MARY Aren’t you tired? Of all of this?
This lands on Samuel. He’s exhausted. MARY
And hasn’t our family given enough? Samuel shakes his head. Doesn’t like where this is going. SAMUEL Your sister never gave up. MARY Maggie. Her name is Maggie, Dad. Jesus, you can’t even say her name. And she never gave up because she didn’t want to let you down. (dagger) And look where that got her. Gut punch for Samuel. Mary instantly regrets it. MARY I didn’t -- SAMUEL Shut up. MARY Dad, I’m sorry -- He holds up a finger. Seriously. Shhhh . Mary understands now, gets quiet. They both listen. High alert. CREAK. Something moves behind them. They both draw guns. SAMUEL Were you followed? MARY Of course not. Were you?
(CONTINUED)
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CONTINUED: (3)
SAMUEL Demons have been tailing me. Thought I’d lost ‘em. MARY Yeah, that’s not a Demon --
Mary points to shadows on the wall... moving as if alive. Samuel turns and sees the shadows moving. Mary reads her Dad’s face. Seeing him in a way she’s never seen him before: Samuel Campbell is afraid. SAMUEL Get out! Go! As if reacting to his voice, ALL OF THE SHADOWS IN THE ROOM SWIRL AROUND, becoming one black mass, darker than dark. The shadows move toward Mary. Just as they’re about to snatch her... Samuel tackles her out of the way -- and the shadows GRAB Samuel! He SCREAMS as he is consumed by DARKNESS. MARY Dad! No -- Mary charges toward him but -- BOOM! A flash of RED LIGHT -- EXT. OLD HOUSE - NIGHT The red light FLASHES out of every window and crack in the house. Off the FLASHING RED LIGHT we MATCH CUT TO: EXT. VIET NAM - JUNGLE - NIGHT EXPLOSIONS light up the jungle, lighting the way for HANK MURPHY. U.S. Marine. 22. MURPH to his friends. But right now he doesn’t have a friend in the world as he’s on the run for his life. GUNFIRE rings out behind him, the bullets carving up the ground and trees around him, about to kill Murph but -- -- he’s tackled out of harm’s way and safely into cover by -- JOHN WINCHESTER. 19. U.S. Marine. Despite the circumstances, he flashes a calming grin at Murph. JOHN You think they saw us? Murph shakes his head. This fucking guy. He checks his gun. MURPH I got two rounds left. You?
(CONTINUED)
CONTINUED: THE WINCHESTERS “PILOT” NETWORK THIRD DRAFT 12/14/21 5. JOHN I got a pack of Beemans. And my Dad’s old hunting knife. John pulls an old HUNTING KNIFE from his belt. MURPH Can’t believe you brought a knife to a gun fight. JOHN (shakes his head) You know, I barely remember my Dad. MURPH Yet you came all this way. Enlisted no less, like an idiot. And for what? Just to be like your old man? JOHN To walk in his footsteps. To try to know him. MOVEMENT all around them. The enemy moving in. They’re pinned down, Butch and Sundance style. Last stand imminent. MURPH Well. Here you are at the end of that road. Was it worth it? John considers that. Not so sure it was at the moment. MURPH Put it away. I got an idea. JOHN Don’t even think about it. MURPH I’ll create a distraction. You get
to the rendezvous. Bring the cavalry. Gold stars for all. JOHN Murph, no --
Murph pulls a silver crucifix from his shirt. Kisses it for luck. Then runs out of cover. CLICK. Something TRIGGERS under foot. He turns to John. Knows this is the end. He smiles. MURPH See you on the other side, John. KA-BOOM! The landmine explodes! SMASH TO:
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INT. BUS - MOVING - MORNING John wakes with a START. He’s in a full dress uniform. Riding in the back of a bus, having just woken from this memory/ dream of Viet Nam. He collects himself. Shakes it off. But when he looks outside the window... he sees in the reflection... MURPH sitting right next to him. Murph’s face is CHARRED. Covered in blood. A choked whisper and blood pours out of his mouth as he GRABS JOHN -- INT. BUS - MOVING - MORNING John wakes again with a start -- for real this time. He looks in the reflection of the window again. But Murph is gone. Just a dream. Just a nightmare. John lets out a long sigh. Relieved. But haunted. He reaches into his pocket and pulls out an envelope. Addressed simply to “John Winchester.” Where the return address should be, there’s only a symbol. But we recognize it right away: It’s the same symbol on the box Mary and Samuel found! John reaches into his duffel. Pulls out the hunting knife we saw before. The one he said was his father’s. But this time we notice on the hilt... the same symbol. “I’d Love to Change the World” by Ten Years Gone begins as John looks out the window, a smile as he sees... EXT. MAIN STREET - MORNING CREDITS PLAY as the bus drives down a street of quaint shops, restaurants, and a movie theater, then comes to a slow stop. CHYRON: Lawrence, Kansas, March 23rd, 1972. John steps off the bus, duffel on his shoulder. He takes in his home town. Looks the same. But everything has changed. The record store plays hippie music. Young men have long hair. Young women tie-dies. Distracted, John bumps into... LATIKA (Luh-thika/Luh-tha) DESAI. 20. Indian by way of London. The flyers in her hand go, well, flying. JOHN Oh my god I’m so sorry. John helps gather the flyers, and they lock eyes. Latika sees his uniform. John sees the flyers. They’re for a WAR PROTEST. They’re both not sure what the other thinks. John smiles.
(CONTINUED)
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CONTINUED:
And to John’s surprise, she hands him a flyer. LATIKA
Welcome home, corporal. I can only imagine how hard it must have been over there. John sighs. Relieved. And genuinely grateful for the empathy. JOHN Thank you. LATIKA When were you drafted? JOHN I... volunteered. (off her look)
I know. I get that look a lot. I guess you could say I was looking for something. LATIKA Did you find it? JOHN No, ma’am, I did not. And now here I am back after two years and... (reads the flyer) ...there’s a war protest. In Lawrence, Kansas? LATIKA A lot’s changed since you’ve been gone. I’m sure you have, too. JOHN I hope that’s true. For me and for Lawrence. It was nice meeting you -- LATIKA Latika. My friends call me Lata. I don’t have a lot of friends. Not sure why I just volunteered that -- JOHN Well you got one now. Corporal John Winchester at your service. But just John to a friend like you. LATIKA Now that you’re back in the world... what are you going to do with your life, John?
(CONTINUED)
CONTINUED: (2) THE WINCHESTERS “PILOT” NETWORK THIRD DRAFT 12/14/21 8. John considers her question. And with the intimacy you can only sometimes find with a stranger, he tells her the truth. JOHN I have no idea. John quickly plays it off, giving a salute and walking off. JOHN See you around, Lata. LATIKA I hope you find what you’re looking for, John. He turns back and says with a wink. JOHN Maybe it was right here all along. EXT. MILLIE’S GARAGE - MORNING An old garage on the edge of town. John heads up to the apartment above the shop. He grabs the hide-a-key. Inside? INT. MILLIE’S APARTMENT - LIVING ROOM - MORNING A total mess. An engine block on the table and hard at work on it is... MILLIE WINCHESTER. 40s. Hands covered in grease. JOHN Love what you’ve done with the place. MILLIE My husband and son walked out on me, so this is the best I could do. This is their bit. Busting chops. But Millie breaks. MILLIE Goddamnit. Welcome home, kiddo. She crosses over to John for an epic hug. INT. MILLIE’S APARTMENT - JOHN’S ROOM - MORNING Just how he left it. Trophies. Posters. And an old family photo: John is four, sitting between his Mom and Dad. John takes out the envelope from before. He looks at the strange symbol on the return address. And then notices... His Dad is wearing a tie pin in the old photo. It’s the same symbol as the one on John’s envelope. Curious.
THE WINCHESTERS “PILOT” NETWORK THIRD DRAFT 12/14/21 9.
INT. MILLIE’S APARTMENT - LIVING ROOM - MORNING John enters, dressed in his old clothes... which no longer fit. John left for war so young he was still growing. The pants are too short. Sleeves, too. And the fashion? Ancient. JOHN You don’t have any of Dad’s old clothes around do you? MILLIE I threw everything he owned away. JOHN Except this. (hands her the knife) I took it with me for luck. Figured it got him through his war. (points at the symbol) Do you know what this means? Millie looks at the knife as John grabs a drink from the fridge. John doesn’t notice it, but we do: Millie blanches when she sees the symbol. Just for a second. Then covers... MILLIE Probably some Eagle Scout crap. John sits down next to her, cracks open a beer. Millie shoots him a look. Excuse me? John raises an eyebrow. What? JOHN I’m legal now. Millie takes the beer. Drinks it herself. MILLIE
Far as I’m concerned, you’re the same age as when you illegally joined the Marines. JOHN I had a waiver. MILLIE From forging your deadbeat Dad’s signature. You’ve been running after your Dad since he walked out that door, and where did it get you? All the way to Viet Nam. Two years gone and look at you. JOHN I’m fine, Mom.
(CONTINUED)
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CONTINUED:
MILLIE The hell you are. I know that look. You got your Daddy’s smile, but my eyes, and those eyes never lie. JOHN I’m telling you. I’m okay. As if to reassure himself, John looks at his reflection in a nearby mirror, and sees... MURPH IS RIGHT BEHIND HIM. John whips around -- Murph is gone. Millie sees he’s shaken. MILLIE
Sure. Right as rain. John... I’m happy you’re home. Despite the fact you left me here all by lonesome -- JOHN Like you need me to look after you. MILLIE I don’t. But I do need my family. And we’re the only family we’ve got anymore. Henry made his choice.
Whatever it was? Didn’t involve us. You gotta let him go, kiddo. Let the past go. And live your life. And with that said, Millie is off. Alone, John takes out the envelope. Inside: an old SKELETON KEY. And a letter. ON THE LETTER: we only see an address 629 Cornelia, Lawrence, Kansas. The same address on the business card Mary and Samuel found! PAN UP from the letter to reveal we’re now in... EXT. BACK ALLEY OFF MAIN STREET - NIGHT 629 Cornelia, to be exact. The place has an old beat up door and not much else to look at. Except for one thing: the symbol from John’s envelope, and knife, and Mary and Samuel’s mystery box is above the door. What is that thing? John stands in front of the door. Skeleton key in hand. He knocks. No answer. He tries the door. Locked. Okay, then -- BURLY MAN #1 (O.S.) Hand over the key, slick. John turns to see two BURLY MEN headed right for him. BURLY MAN #2 And we’ll kill you quick.
(CONTINUED)
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CONTINUED:
John holds up the key in his hand. Then makes a fist around it and WHAM -- decks the nearest Burly Man. He just SMILES then punches back -- John FLIES back into trash cans. He looks up, stunned as he sees -- both men’s eyes FLASH BLACK. JOHN What the hell...? BURLY MAN #1 Hell is exactly right. Burly Man #1 grabs John by the throat. Lifts him easily off his feet. Just as Burly Man #2 grabs for the key -- SPLASH! They’re hit with what appears to be just water, but judging by their reactions it may as well be acid. As the Burly Men double over in pain, they’re sucker punched and kicked by -- ...MARY CAMPBELL! Mary PUMMELS Burly Man #1. John attempts to help by taking on Man #2, but when he rears back to punch, he elbows Mary. JOHN I am so sorry -- Burly Man #2 swings at John, who ducks, and Mary gets hit. MARY Stop. Helping. The Burly Men move in. John swings, misses, bumping into Mary again. Before he can apologize again -- WHAM! Mary PUNCHES John, knocking him out of her way. She backs away from the Burly Men... LEADING them. They get close and LUNGE at Mary... but stop in their tracks, wincing in pain. Mary smiles, points at their feet. From above, we see a giant PENTAGRAM. A Demon Trap. MARY (LATIN INCANTATION) John gets back to his feet just in time to see... BLACK SMOKE ERUPT OUT OF THE BURLY MENS’ MOUTHS! The smoke ROCKETS into the night sky. The Burly Men collapse. Knocked out. John is now in another world. He’s seen the horrors of war, but never lived through a horror movie. JOHN DID YOU SEE THAT? MARY See it? I did it.
(CONTINUED)
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CONTINUED: (2)
JOHN Did what? Black smoke -- smoke! -- just came out of their mouths. Mary holds up her hands. Easy, tiger. Then breaks it down. MARY Those two were possessed by Demons. From Hell. That water I hit them with? It was Holy. Stuns ‘em. That symbol you see on the ground? It traps them. And the Latin -- JOHN (holy shit) -- exorcizes them. Mary nods. Almost impressed this guy can follow along. MARY Now you tell me something: what the hell were you doing here? John considers his options here. Makes a decision. JOHN When I was just a kid, my Dad -- MARY I don’t need your life story. JOHN -- just some context, okay? (pulls out envelope) When I got back from ‘Nam, a man I’d never met handed me this. And then disappeared. Like, vanished. It’s a letter from my Dad. First I’d heard from him in fifteen years. And it said to come here. MARY Why? JOHN That’s what I’m here to find out. Why are you here? Mary considers John. Suspicious. But she needs information. MARY My Dad went missing. Last night. This lands on John. A connection here.
(CONTINUED)
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CONTINUED: (3)
MARY He was working a case. I don’t know what he was looking for, but Demons were following him. JOHN (points at Demons) Tweedle Dee and Tweedle Dum? MARY (she nods, yes) Dad found an address. This address. Then we were attacked. But not by demons. By something else. Shadows that could move. They surrounded us. Then a flash of red light knocked me through a wall. When I woke up, Dad was gone... JOHN So you came here. MARY
Only lead I had. But that door is magically sealed. So, I set a Demon Trap in case the Tweedles followed me, too. Then I waited. Apparently, for you. And that key you’re hiding in your back pocket. John is surprised. How did she know that? He again considers his options. Reluctantly pulls out the key. JOHN I’m not leaving without -- Mary GRABS it. But John doesn’t let go. JOHN Hey. Hey. A Jackie Chan style “fight” ensues as the two grapple over the keys. It’s like a dance. Violent, sure, but sexy, too. MARY You’re out of your element. Let go. JOHN
There are answers inside this place for both of us. Let’s team up and --
Mary ends their dance by landing a knee to John’s groin. John is done fighting. The key? Now in Mary’s hand. John rolls over on the ground, in pain. But playing through.
(CONTINUED)
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CONTINUED: (4)
JOHN You know, I think we got off on the wrong foot, let’s start over. I’m -- MARY Who cares? CLICK! She turns the key in the lock. The edges of the doors light up BLUE and... the door opens. INT. LODGE - NIGHT Mary flicks on lights. The inside has been lost to time. Dust. Cobwebs. Mary opens cabinets. Pulls sheets off furniture. Searching. John stumbles inside, looks around. JOHN Was this a lodge? Was my Dad some kind of paranormal freemason? MARY There’s no such thing. JOHN
Are you sure? Look at this symbol on the envelope. It was above the door too. Big freemasons vibes. MARY I’m telling you, no such thing -- JOHN Well, do you have any idea what this symbol might mean? MARY Nope. But I know when an X marks a spot.
She points to a back wall, where we see the symbol again, this time worked into the trim above a bureau. She moves the bureau and finds a hidden door. The door opens revealing... ...a staircase headed down into darkness. JOHN Staircase into the abyss. Perfect. John BREAKS the leg off a chair. Yanks a sheet off some furniture, rips it, covers the broken chair piece with torn sheet. He pulls out a Zippo for his makeshift torch but -- CLICK. Mary turns on her flashlight.
(CONTINUED)
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CONTINUED:
MARY I got this, Ranger Rick. INT. LODGE - HIDDEN STAIRCASE - NIGHT The steps wrap around, going down, down, down underground. JOHN This a normal night for you? MARY Since I was a kid, yeah. JOHN You were raised to be... what exactly are you anyway? MARY A Hunter. JOHN Of... MARY Things that go bump in the night. JOHN A Hunter. Can I ask you something? MARY You just did. JOHN Was my Dad a Hunter? I mean, he sent me a magical key that opens a magical door to a paranormal freemason’s lodge -- MARY Seriously. No such thing. JOHN You’re a lot of fun, you know that? They come at last to the bottom of the stairs. Another door. She opens the door and they step into... INT. THE CLUBHOUSE - NIGHT Mary finds a nearby circuit breaker and throws it. To both their surprise, the power comes on, lighting the place up. Like a speakeasy and spa. Snooker tables. Full bar. Chess sets. And books like Mary found in the opening. It’s...
(CONTINUED)
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CONTINUED:
JOHN ...like a museum of the occult. John spots lockers. His eyes widen. Each locker labeled with initials. John touches the name plate of one H.E.W.. JOHN H.E.W. Henry Eric Winchester. This was my Dad’s locker. There’s a padlock on it. He grabs it and spins the lock. MARY Let me find something to pry it open -- CLICK! The padlock opens. Mary raises an eyebrow. JOHN We had a lock just like it on our shed. Combo is a family joke. John opens the locker. Inside he finds his father’s things. Glasses. A notebook. Clothes. A treasure trove. John can’t believe it. Monsters are real and his Dad knew about them? JOHN
When I was a kid, I thought there was a monster under my bed. You know what my Dad told me? “Don’t worry, son, I know how to trap it.” (shakes his head) I went halfway across the world looking for answers about who he was. Why he left. What he did. And it turns out the truth was here. Right in front of me all along.
Mary clocks how much this means to John. A brief flash of feeling for the guy. But she presses on, searching the room until she discovers... a box just like she and Samuel found. Mary races over to the box, tries to open it but... nothing. JOHN What did you find? MARY The reason my Dad wanted in here. JOHN What’s in the box?
(CONTINUED)
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CONTINUED: (2)
MARY None of your business. JOHN You can’t open it, can you? Mary frowns. John’s not wrong. But she’s done here. EXT. MAIN STREET - NIGHT John follows after Mary, his father’s things in hand. JOHN Hey. Wait up. I still have, like, a million questions. Most importantly... what’s your name? Mary stops. Turns around. Tough but sincere. MARY I got what I came for. (points at Henry’s things) So did you. Take it. And let the past stay in the past. John sighs. Not the first time he’s heard that today. MARY You don’t want any part of this life. I promise you. There aren’t any happily ever afters for people who walk in darkness. Mary turns and walks away. John opens his mouth to argue, but knows she’s done talking. JOHN It’s John, by the way. John Winchester. MARY Go home, soldier boy. CRANE UP from John, watching Mary walk away down the empty street. We rise up to reveal John is under the movie marquee, currently showing Slaughterhouse-Five . John looks at his father’s journal. The truth about his Dad inside. As John heads home to uncover that truth we CUT TO: EXT. RARE BOOK EMPORIUM - NIGHT CHRYRON: LUBBOCK, TEXAS.
(CONTINUED)
CONTINUED: THE WINCHESTERS “PILOT” NETWORK THIRD DRAFT 12/14/21 18. The store is closed but we see a back light on inside. INT. RARE BOOK EMPORIUM - NIGHT ADA, 40s, African-American, owner of the shop, reads through an ancient text in a back office. A noise pulls her out of her reading. She looks up. Nothing but long shadows. Ada goes back to her reading. Until... another noise. Ada looks up. The long shadows are moving toward her now. Ada races out of her office, SLAMS the door and bolts for the front counter. She grabs the phone. But doesn’t dial 911. ADA (into phone) Samuel Winchester’s room, now -- (listening) What do you mean there’s no -- (panicked, remembering) No wait, that’s not, his room is under the name -- She searches the front counter desperately looking for something. She looks up. The shadows creep under the door crack, headed right for her. Ada hangs up the phone and grabs a knife. She holds the blade over her palm, both hands SHAKING. She’s clearly read all about this... but never done it herself. The shadows get closer to her. No more time for doubt. Hand still shaking, Ada finally cuts her hand, then uses her blood to paint something on the desk. Ada paints faster, but the shadows are everywhere. Soon, the room is consumed in darkness. Ada SCREAMS and we SMASH TO: EXT. RARE BOOK EMPORIUM - NIGHT As in our opening, RED LIGHT FLASHES OUT of the building -- BLACKOUT.
END OF ACT ONE
THE WINCHESTERS “PILOT” NETWORK THIRD DRAFT 12/14/21 19.
ACT TWO INT. MILLIE'S APARTMENT - LIVING ROOM - NIGHT
Millie sleeps on the couch. A TV broadcasting the national anthem lights the room. John quietly returns home from his crazy night. He tucks a blanket over his sleeping Mom. INT. MILLIE'S APARTMENT - JOHN'S ROOM - NIGHT John goes through his father’s things. Each one a potential clue to who his father was. Each one a treasure. John tries on his Dad’s reading glasses. And his old jacket. Fits perfectly. Then he sits down. And opens his Dad’s journal. A hidden history. DISSOLVE to various angles as John reads through the night. EXT. DINER - DAWN Mary parks her 1969 Dodge Challenger. Shakes her head at... MARY You gotta be kidding me. ...John Winchester. Walking up to her car, holding two to-go coffees, his Dad’s journal under his arm. JOHN
Figured you like your coffee same as your worldview. Black as night. Mary glares at him. Doesn’t take the coffee. MARY How did you find me? JOHN
That’s what I do. Or what I did. In the Marines. I bet that mystery box kept you up all night. You open it? (off her frown) Well, my Dad’s old journal might be able to help you with that. John opens his Dad’s journal to an entry with a sketch of the exact box Mary found. Underneath? A name. MARY Who’s “Ada Monroe”? JOHN Yesterday’s news. And today’s.
(CONTINUED)
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CONTINUED:
John pulls out the day’s newspaper. It’s opened to an article reporting on the incident we saw in the last scene. A photo of Ada Monroe, and an article about... JOHN “...Monroe, owner of a rare book store, has been missing since witnesses saw a flash of red light from her store.” (looking at Mary) Sound familiar? Mary raises an eyebrow. Sounds exactly like what attacked her and her Dad. She’s impressed... but doesn’t let John know it. MARY You’re like a dog with a bone. JOHN And coffee. Let’s hit the road... But Mary’s not budging. John gestures with the journal. JOHN
This was my Dad’s journal. I was hoping it would tell me who he was. Really was. But I read this cover to cover. It’s a list of names and cases. But not him.
This lands on Mary, softening him a bit. JOHN
Whoever Ada is, she knew my Dad. And it sounds like she got attacked by the same thing that attacked your Dad. So... looking into Ada is a win for both of us. Right? Mary looks at John. This fucking guy. She takes the coffee. INT. MARY'S CAR - MOVING - DAY They ride in silence. A voice echoes from Mary’s CB radio. HUNTER FROM CB
Breaker one nine, any cooks got your ears on? You got The Jester here looking for a recipe assist.
Mary grabs the CB, clicks the button. MARY
Jester it’s Lotus, whatcha cookin’?
(CONTINUED)
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CONTINUED:
HUNTER FROM CB
Goulash.
MARY That recipe is all in your head. HUNTER FROM CB Copy that, Lotus. Thanks, kid. JOHN You’re a hunter and a cook? MARY
Hunter lingo. Jester is working a ghoul case. Headshots kill them. JOHN Why is your handle -- MARY None of your business. They ride in silence again. John looks out the window. In the side view mirror he sees behind him... MURPH. Bleeding. MARY You okay? JOHN Sorry. I was just wondering. If ghouls are real, what about ghosts? MARY Definitely real. JOHN How do you... what’s the ‘recipe’ for sending them on? MARY Find the ghost’s body. Salt and burn the bones. John looks at the mirror. But Murph is gone. He plays it off. JOHN Sounds tasty. So, what do you think my CB Hunter handle should be? MARY You are never going to be a Hunter. JOHN Okay, but that seems a little long.
(CONTINUED)
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CONTINUED: (2)
Mary shoots him a look which suggests that “Silence is Golden,” but John looks out the window, wondering... JOHN
Pretty sure Texas is south of here, so... where are we going exactly? MARY You want to go hunting, then you need to get some weapons first.
EXT. LIBRARY - MORNING PAN DOWN from the library sign to find a very confused John. JOHN Weapons. Here? MARY Knowledge is power, Private Pyle. INT. LIBRARY - RESTRICTED SECTION - MORNING Mary has the mystery box in hand, John barely keeping up with her. They’re down in the basement, where the older books are kept. They approach a librarian, whose back is turned. MARY Hey. I need your help on something. The librarian turns around and we recognize her right away. So does John, because the librarian is actually... JOHN Lata? LATIKA John? MARY You two know each other? Wait, did you just call her Lata -- LATIKA That’s what my friends call me. (back to John) I didn’t know you were a Hunter. MARY He’s not. JOHN In training.
(CONTINUED)
THE WINCHESTERS “PILOT” NETWORK THIRD DRAFT 12/14/21 23.
CONTINUED:
LATIKA
So am I. Mary clocks the connection here. Doesn’t like it. LATIKA Did you guys see the paper?
She pulls out her own copy of the news. John smiles, showing her his copy. Okay, Mary is definitely not liking this. JOHN Great minds. LATIKA
Your Dad asked me to look into Ada. I called your house once I saw the article, but no one answered. MARY When did Dad see you? LATIKA Weeks ago. Asked about Ada and a box like the one you’ve got there. That symbol is an Aquarian Star. JOHN What does the symbol... symbolize? LATIKA I don’t know. The people behind that symbol made these boxes.
Latika opens a lore book. Finds a drawing of the box. John opens his Dad’s journal... to the same drawing. Another jinx moment between them. Another moment that clearly annoys Mary - - not that she’d ever admit it, thank you very much. JOHN My Dad’s journal. He knew Ada. LATIKA Your Dad was a Hunter? JOHN Starting to think he was one of these paranormal freemasons. MARY
There’s no such -- who the hell is Ada and what are these damn boxes?
(CONTINUED)
THE WINCHESTERS “PILOT” NETWORK THIRD DRAFT 12/14/21 24.
CONTINUED: (2)
LATIKA Ada wrote about the occult. Your Dad hoped she knew about what was kept in one of these boxes. MARY What was he looking for? LATIKA Let’s find out. Latika follows directions from the lore book, presses points on the box the way Samuel did -- PSSHH. The box opens. There’s a torn PARCHMENT inside. LATIKA No idea what language that is. But Ada Monroe would have known. JOHN Well, good thing we’re headed to her shop, then. LATIKA Count me in. Let’s go. Mary shakes her head, she opens a locked crate behind Latika’s desk. It’s filled with all kinds of weapons and strange blades. She grabs some gear. MARY Latika, you nearly fainted when we saw Willard . LATIKA Rats are scary. (wait) You don’t think rats took your Dad, do you? MARY
Find everything you can about this parchment. Call you from the road. LATIKA At least let me reach out to someone who can help. You know who’s playing a gig nearby -- MARY After what happened in Tupelo, that idiot is the last person I need “helping” me.
(CONTINUED)
THE WINCHESTERS “PILOT” NETWORK THIRD DRAFT 12/14/21 25.
CONTINUED: (3)
JOHN What happened in Tupelo? LATIKA A misunderstanding. Listen, Mary --
They turn... but Mary is gone. LATIKA
She... does that. A lot.
EXT. LIBRARY - DAY Mary is out by her car, the trunk popped, she hits a hidden lever and lifts the bottom revealing... a treasure trove of SUPERNATURAL WEAPONS. She discreetly packs what she just got. JOHN (O.S.) Cooking utensils? Mary turns to find John has caught up with her. He points back to the library. JOHN Lata seems too smart to leave behind, don’t you think? MARY I can’t carry you both. JOHN You’re against anyone becoming a Hunter. Which begs the question: why are you a Hunter? MARY It’s the family business. I never had a choice. John can see this weighs on her a great deal. He wonders... JOHN What did you want to be? Mary looks at John. Surprised as she realizes... MARY You know, you’re the first person to ever ask me that. JOHN Then I’ll be the first person to hear your answer.
(CONTINUED)
THE WINCHESTERS “PILOT” NETWORK THIRD DRAFT 12/14/21 26.
CONTINUED:
Mary looks at John. He’s serious. And sweet. Not what she’s used to. She considers his question. Not sure how to answer. DEANNA (O.S.) Mary? Mary closes the trunk to see... DEANNA CAMPBELL approaching. 40s. Curt. Suspicious. John raises an eyebrow as Mary says... MARY Mom. DEANNA Who’s your friend? MARY You and I both know the clock is ticking on your Dad. Now let’s grab some gear from Latika and -- MARY Mom, wait -- DEANNA (shoots John a look) We’ll find your Dad. As a family. Not with strangers. Awkward. John reaches his hand out. Deanna doesn’t take it. JOHN Not a stranger if I introduce myself, right? John Winchester. Nice To meet you -- DEANNA Winchester ? As in Millie’s son? John is surprised. How does she know that? JOHN Born and raised. DEANNA She know you’re slumming with us? Both John and Mary are struck by Deanna’s tonal shift. JOHN I’m sorry...? The guy who got me the box, listen Mom, have you seen the paper -- DEANNA
(CONTINUED)
CONTINUED: (2) THE WINCHESTERS “PILOT” NETWORK THIRD DRAFT 12/14/21 27. DEANNA
We worked a case near your Mom’s garage. She heard about it and told us to stay away from her and
especially her boy. A simple thanks would have been nice, instead she read me the riot act. Real piece of work your Mom. John is too stunned to be offended. His mother lied to him. JOHN My Mom knows about hunting -- (spinning out) Did she know about my Dad -- DEANNA home to Momma, Winchester. The grown ups will take it from here. Deanna heads into the library. Mary turns to John. MARY I’m sorry, I didn’t... I didn’t know about your Mom. JOHN That makes two of us. MARY You going to go talk to her? JOHN I don’t know what Millie Winchester does or does not know. She made her point, and now I’m making mine. Run And I’m guessing you still think Ada going missing is worth a look. John raises an eyebrow. Are we doing this or what? EXT. ROAD - DAY Mary’s car tears ass down a two lane, past a sign that reads, “NOW LEAVING LAWRENCE KANSAS, Y’ALL COME BACK NOW!” There’s no answers for me at home. The truth about my Dad is somewhere out there. Same as yours. (smiles)
THE WINCHESTERS “PILOT” NETWORK THIRD DRAFT 12/14/21 28.
INT. MARY'S CAR - MOVING - DAY They ride in silence. John looks at the rear view mirror... and once again Murph is there behind him. John closes his eyes. He’s not there, he’s not there, he’s not -- MARY (O.S.) Ground control to Major Tom? John opens his eyes and as we WIDEN, we see they’re on a back road. Some time has clearly passed. John checks the rearview. Murph is gone. John is relieved. Mary? Concerned. MARY That’s the second time you’ve space cadet-ed on me. What’s up? JOHN You’re gonna think I’m crazy. MARY I already think you’re crazy. JOHN You said ghosts were real. Well, I think I’m being haunted. Mary considers John. He’s serious. She nods. Okay, then... MARY Grab my bag. Front pocket. John grabs her bag from the back. Pulls out an -- MARY EMF Reader. Ghost detector. Switch is on the side. Turn it on. John turns it on. Nothing happens. MARY See? No flashing red. So, no ghosts here. You’re not being haunted. JOHN Why is that not comforting? MARY Tell me what you’re seeing. JOHN I keep seeing my friend. He saved my life more times than I can remember. When it was my turn...
(CONTINUED)
THE WINCHESTERS “PILOT” NETWORK THIRD DRAFT 12/14/21 29.
CONTINUED:
John trails off. Deep wound here. He rolls up his sleeve and reveals a literal wound. A jagged SCAR on his forearm. JOHN I still have pieces of his necklace in here. Shrapnel. All this lands on Mary. She knows from this pain, too. MARY
Well, I’m sorry to tell you there’s no salt and burn cure for what ails you. Believe me, I wish there was. I see every face I couldn’t save. JOHN So how do you cope? MARY
I let go. Of the past. Of all of it. And if I feel I can’t go on -- JOHN “...in the light you will find the road.” MARY (smiles, surprised) You know your Zeppelin. Let’s see what other songs you know. She turns the radio on and “I’m Alive” by Johnny Thunder carries us over -- EXT. ROAD - DAY Mary’s car drives down a lone two lane blacktop. EXT. RARE BOOK EMPORIUM - DAY Mary picks the lock to the back door. John looks on. Nervous. JOHN What’s wrong with the front door? MARY This is a crime scene. Lot of eyes. JOHN Is breaking and entering a big part of Hunting?
(CONTINUED)
CONTINUED: THE WINCHESTERS “PILOT” NETWORK THIRD DRAFT 12/14/21 30. MARY (click, the door unlocks) Who’s breaking? INT. RARE BOOK EMPORIUM - DAY Books everywhere. It’s like a bomb went off. They search in silence. John spots something on the desk where we last saw Ada. It’s a painting of a symbol. Drawn in BLOOD. JOHN That’s not a good sign, is it? Mary shakes her head. Nope. MARY That’s a sigil. Drawn with blood. Hunters use them for protection. I don’t recognize this one, though. John searches through papers. Finds what Ada was too rattled to locate before. JOHN Got a phone log. Someone called looking for a satanic cookbook. And there was a call from an H. Williams from a motel. Room 217. Mary checks the note. Smiles. MARY We stay under fake names at motels. Dad always uses old country music stars for his aliases -- JOHN Any chance he’s there? Before Mary can answer, they hear GLASS SMASHING outside. They race out the backdoor to find... EXT. RARE BOOK EMPORIUM - DAY -- Mary’s car... tires flat. Windows smashed. COLLEGE AGED KIDS stand by the car. Grinning. Their eyes FLASH BLACK! COLLEGE KID #1 Good to see you again, slick. BLACKOUT.
END OF ACT TWO
THE WINCHESTERS “PILOT” NETWORK THIRD DRAFT 12/14/21 31.
ACT THREE
EXT. RARE BOOK EMPORIUM - DAY The College Kid Demons move in on John and Mary. JOHN Are those the -- MARY Same Demons. Different meat suits. JOHN And how do we kill Demons again? MARY We can’t.
Just as the Demons get close... “Peace Frog” by The Doors ROARS into our ears as BOOM! A 1970 VW Bus SLAMS into the demons sending them FLYING! The demons smash into a parked car across the lot. The VW screeches to a halt. In the passenger seat, a totally freaked out Latika. Driving? CARLOS CERVANTEZ. 20s. Stoned. CARLOS When are you going to let Tupelo go, Mare? Carlos stumbles out of the van. MARY Carlos, John. John, Carlos. Don’t trust him with anything. CARLOS Don’t listen to that bruja. C’mon, rookie. Learn something. Carlos leads John over to the dazed and stunned Demons. Carlos dramatically reaches into his jacket and pulls out... ...a squirt gun. He shoots the Demons with holy water. They cringe in pain. Then he shoots some water into his mouth. CARLOS Gotta stay hydrated. You want some? JOHN I’m good, actually, thank you. Carlos hands John a beat up folded piece of paper.
(CONTINUED)
THE WINCHESTERS “PILOT” NETWORK THIRD DRAFT 12/14/21 32.
CONTINUED:
CARLOS Read this. Word for word. The Demons begin to stir. John unfolds the paper. Confused. JOHN Are you sure -- CARLOS C’mon, man, before they get up -- JOHN Okay. (reading) “The Triple Threat is a mouth- watering grilled cheese on your choice of bread with two -- “ Carlos snatches the paper. A to-go menu. Flips it over. CARLOS My bad. Here. This part. Quick. JOHN (does his best) (LATIN INCANTATION) Black smoke erupts out of the possessed College Kids’ mouths. They collapse to the ground. John points at them. JOHN Are they -- CARLOS A pile of broken bones from my van hitting them? Nah. The Demons protect their vessels from harm. These kids will wake up hungover in an hour or two. (smiles) Nice work on your first exorcism, Johnathan. JOHN It’s just John. Carlos puts his arm around John, leading him away from the knocked out teens and back to Mary and Latika. CARLOS
Listen, Johnathan, I have a very important question for you. Do you have any clothes that fit?
(CONTINUED)
CONTINUED: (2) THE WINCHESTERS “PILOT” NETWORK THIRD DRAFT 12/14/21 33. MARY
Stop talking. My Dad has a room under an alias at a motel nearby. You and Latika search the store. Gimme your keys. CARLOS
Not loving your aggression getting behind the wheel of my beloved. MARY Keys. Or I knock another tooth out of your stupid head. Carlos hands over the keys, turns to John. CARLOS She’s really actually meaner when you get to know her. MARY Get inside. John? You’re with me. John and Mary climb into Carlos’s van. CARLOS
I’m gonna get you some new clothes, man. That outfit is a war crime.
Mary peels out of the lot. CARLOS
C’mon, chica, let’s go look at some weird books.
INT. CARLOS’S VAN - MOVING - DAY Mary opens the glove box. Inside... a bunch of FAKE IDs. JOHN Are these... fake badges? MARY We need a way into my Dad’s room. John grabs a badge that has a photo of Carlos. JOHN Deputy Bob Dylan. So, your Dad is country, and Carlos is folk? MARY
Just put your thumb over his photo. Now follow my lead and keep quiet.
THE WINCHESTERS “PILOT” NETWORK THIRD DRAFT 12/14/21 34.
INT. MOTEL - OFFICE - DAY Mary opens the door to find the owners, MR. and MRS. CARTER, behind the desk. They are in their 50s and sick of your shit. MARY
Afternoon. I’m Sheriff Mitchell, this is my partner Deputy Dylan. We’re looking for Henry Williams.
John holds his badge up awkwardly, barely covering the photo. Mr. Carter squints. Does not like the cut of their jibs. MR. CARTER
Checked in a while back. Paid for weeks in advance. Haven’t seen him in a spell, though. Now, Mother, do you know what I cannot abide? MRS. CARTER Liars and hippies. MR. CARTER Liars and hippies. JOHN Uh, sir I can assure you I’m -- MR. CARTER
Not the man in the photo on that badge. Mother, show them the door. Mrs. Carter pulls a shotgun out from behind the counter. JOHN You two have a lovely day. EXT. MOTEL - MOMENTS LATER John and Mary poke out from the back of the building. From here, they can see Mr. and Mrs. Carter in their office. JOHN This is a bad idea. They sneak their way over to Room 217. Mary goes to work on the lock. John keeps watch, worried, not seeing that behind him, Mary has picked the lock and opens the door, heading in. JOHN A really, really bad -- Mary’s hand reaches out the door and YANKS John inside.
THE WINCHESTERS “PILOT” NETWORK THIRD DRAFT 12/14/21 35.
INT. MOTEL - ROOM 217 - DAY Inside, we see a classic Hunter’s Motel Room. Old takeout boxes. Dirty laundry. And a wall of clues pinned up. They take it all in. As they scan, we get a look at Samuel’s Hunter’s wall -- a series of clippings of other people disappearing in a FLASH OF RED LIGHT. Hand drawn sketches of the mystery boxes with the strange symbol. MARY
He was working this case for months. Never said a word. JOHN If it’s any consolation, my Dad lied to my family for years.
As they search for clues, John watches Mary. Eyes lingering a little too long. She senses this and looks at him. He looks away. And now she lingers a little too long. Sparks here. INT. RARE BOOK EMPORIUM - DAY Carlos and Latika search through the store. CARLOS Don’t listen to Mary. You’re ready. LATIKA You really think so? CARLOS
I mean, probably? Just don’t listen to Mary. She’s so hung up. I can’t believe I ever had a crush on her. LATIKA “Had.” You’re such a liar. CARLOS Why can’t she let Tupelo go? LATIKA You flaked on her. Like always. But that time it almost got her killed. CARLOS That’s why she’s mad? LATIKA That feels like a good reason.
(CONTINUED)
CONTINUED: THE WINCHESTERS “PILOT” NETWORK THIRD DRAFT 12/14/21 36. CARLOS
I thought she was mad because I made out with her on-again, off- again boyfriend. LATIKA They were off again, but you were making out with Jason when you were
supposed to be watching Mary’s back. And weren’t you still with Elizabeth at the time? CARLOS We were off-again. I think. Latika finds the marker John and Mary found. LATIKA I’ve seen that before. Look.
She reaches into her pocket. Pulls out the torn parchment. There’s a marking on the parchment just like one Ada made. LATIKA Ada tried to use the spell on this parchment. INT. MOTEL - ROOM 217 - DAY John looks from his Dad’s old journal to the wall. He reads names from different pages, matching them to news stories and photos of people Samuel had been tracking. John adds the photo of Ada Monroe from the newspaper story about her disappearance to the wall next to the other cases. JOHN David Wilcox. Blaire Chandler. Randy Ludensky. And now Ada Monroe. All in my Dad’s journal. Each one went missing recently, and your Dad was tracking each case. Each one attacked by the same thing. (shakes his head) Who are all these people? MARY Let’s start with Ada. My Dad came here to see her -- VOICE (O.S.) -- to translate this parchment. They turn to see Latika and Carlos in the doorway.
THE WINCHESTERS “PILOT” NETWORK THIRD DRAFT 12/14/21 37.
INT. MOTEL - ROOM 217 - DAY Latika has laid everything on the bed: the mystery box with the symbol. The parchment. And an old leather bound book. LATIKA Ada found what Samuel was hunting, buried in ancient lore. Latika opens the weathered book to an illustration of creepy SHADOWS descending on a group of Hunters. LATIKA
They’re called Akrida. And they are really, really bad news. They move through shadows and possess people. JOHN Like Demons? LATIKA
Demons want human souls. They feed off human suffering. They need us to survive. Akrida? They want to exterminate mankind. This? Latika turns the page and shows them a sketch of The Akrida, an almost alien looking bug. A total horror. LATIKA Is their true form. MARY Did one of these possess my Dad? LATIKA
I think so. The parchment he was looking for? Part of it is a spell used to banish Akrida. CARLOS What’s the rest of it do? LATIKA I don’t know. Look, this parchment is very powerful. It’s ancient and really dark magic. CARLOS That’s why it was torn apart. Kept separate. Out of the wrong hands. JOHN So, who made it?
(CONTINUED)
THE WINCHESTERS “PILOT” NETWORK THIRD DRAFT 12/14/21 38.
CONTINUED:
Latika points to the symbol on the mystery box. LATIKA These guys. According to this book, they’ve been around for centuries, like some kind of paranormal freemasons. JOHN Told you. MARY You are the worst. Mary points the parchment at Samuel’s Hunter Wall. MARY But I can’t make heads or tails of his notes. It’s just a bunch of chicken scratch and random numbers. Mary lays down three sheets of paper. John looks at the numbers on them. A lightbulb going off. JOHN Dad was looking for these parchment pieces. We need to finish what he started. (shakes her head) Co-ordinates to a plot of land he’d bought outside Lawrence. Nothing but grass and a lone tree. My dad was going to build us a house out there. Another promise broken... John’s finger traces down the map. Pinning numbers on... JOHN Okay, first set of numbers line up with a spot in Mississippi. MARY That’s where my Dad went missing. John traces again on the map. Pins the second set on... They’re not random. They’re co- ordinates. Old military trick. You remember my Dad’s padlock? Same thing. The combo was co-ordinates. (smiles, remembering)
(CONTINUED)
THE WINCHESTERS “PILOT” NETWORK THIRD DRAFT 12/14/21 39.
CONTINUED: (2)
JOHN Second set: Lawrence, Kansas. The third set... isn’t complete. Based on what’s here, it’s somewhere...
John gestures at southern Louisiana. CARLOS That’s a lot of somewhere. MARY What was Dad missing? Latika grabs Henry’s old journal. LATIKA This. (flipping pages)
Everyone on Samuel’s board was in this journal, right? Well, who did he know in southern Louisiana? (points to a page) He paid a visit to an associate named Jack Underhill. Place called Harper Grove in New Orleans. MARY Let’s go find Harper Grove.
EXT. COUNTRY ROAD - DUSK Carlos’s van rips down the road. INT. CARLOS’S VAN - FRONT SEAT - MOVING - NIGHT Mary drives, Latika rides shotgun. The boys are in back. MARY You shouldn’t have come. LATIKA Would it kill you to say thank you? MARY Your head is always in a book. Not in the moment. And I’ve seen what happens to people like that. This hangs in the air between them. An old wound. LATIKA
Mary... I’m sorry about Maggie. I miss her, too. But... I’m not her.
(CONTINUED)
THE WINCHESTERS “PILOT” NETWORK THIRD DRAFT 12/14/21 40.
CONTINUED:
This lands on Mary.
LATIKA And you’re not your Dad. You don’t have to hunt the way your parents did, Mary. You can go your own way. (then) Listen. What happened to Maggie... it wasn’t your fault.
Mary nods. Wants to believe that. MARY
It wasn’t your fault, either. Now Latika nods. Wants to believe that, too. IN THE BACK John sits with Carlos. A mess. Carlos sorts through clothes. CARLOS No. No. Maybe. Definitely not. JOHN So, you’re a musician? CARLOS I am a one man band, amigo. JOHN What got you into hunting? CARLOS I killed a ghoul. JOHN Headshot. CARLOS Correct. Sadly, it killed my family before I got to it. (off his look) Easy, man. It was a long time ago. JOHN Does every Hunter have such a terrible beginning? CARLOS Only thing worse than how it starts for Hunters... is how it ends.
(CONTINUED)
CONTINUED: (2) THE WINCHESTERS “PILOT” NETWORK THIRD DRAFT 12/14/21 41. Carlos grabs his guitar and starts playing “With a Little Help from My Friends” by Joe Cocker. As Carlos sings... Latika joins in. Then John. Then... reluctantly, Mary joins in. Just barely. Their jam carries us over a quick MONTAGE: EXT. GAS STATION - NIGHT John exits the van in new threads. Not bad. Carlos points... lose the bell bottoms. As John gets back in the van, the girls check out John’s bum. Carlos leans into their POV, eyebrow raised. Busted. The girls look away, embarrassed. INT. CARLOS'S VAN - MOVING - DAY John drives. Mary sits shotgun. Latika and Carlos cat nap in the back. She looks at John. He senses this, but she looks away, out the window. The sign ahead: WELCOME TO NEW ORLEANS! EXT. MOTEL - DAY The Carters sit outside their office. Listening to the radio. RADIO NEWSMAN (voiced by Bob Singer) ...as the body count rises pressure mounts on President Nixon to -- MRS. CARTER Nixon ain’t the problem. It’s the damn hippies -- MR. CARTER The hell is that, Mother? Mrs. Carter looks up to see... BLACK SMOKE swirling above them. SHOOOM! The smoke ROCKETS down into their mouths! INT. MOTEL - ROOM 217 - DAY BOOM! The door kicks in. Mr. and Mrs. Carter, their eyes BLACK now, enter. Mr. Carter spots the map. Smiles. MR. CARTER DEMON We’re coming for you, slick. BLACKOUT.
END OF ACT THREE
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