Smoke and mirrors – but sometimes also steel. In the odd world of movies and television, things are not always what they seem: the fake blower on the Mad Max Pursuit Special, the digital tire smoke from the Merc’ 6.9 in Ronin.

It’s always a bit disappointing when you meet a hero car to learn that, behind the polish, it’s all hat and no cattle. But not with these two beasts. These are the real deal: guts, dents, motor, and chrome. One’s a modern hearthrob, the other’s a lantern-jawed archetype that even today outshines its modern co-stars.

One Ford product, one vehicle cranked out by the General. Black paint, V8 rumble, and more character than the small screen can contain. Here are their stories.



Supernatural‘s been filming in my hometown for close-on ten years now. The show’s premise is pretty straightforward: the trials and tribulations of a pair of demon-fighting brothers as they wander around America in a 1967 Impala, putting evil back in the ground. Dukes of Hazzard meets Buffy the Vampire Slayer: justa good ol’ boys, never meaning no harm; beats all you ever saw, punched the Devil in the jaw, and gave Death a dead arm.

Sometimes it’s serious, sometimes it’s goofy, sometimes it’s overdramatic, and sometimes the show’s genuinely funny. The fanbase is large and loyal, and there’s a lot of love for the Impala, which is sort of a third Winchester brother on the show. It’s a constant companion, rumbling into a new town with a trunk filled with salt, crucifixes, and wooden stakes. They call it Baby, as that’s so often what Dean Winchester – played by Jensen Ackles – fondly calls his lead sled.

As is usual in filming, there are multiple copies of this thing, all suited up identically in shabby black. Of the seven, one’s a buck cut up into movable sections for filming (not used much any more with the compact nature of modern cameras), a couple are stunt cars with extra pedals to lock up the rear brakes, and a couple are stand-ins for positioning shots. And one main one.

A 1967 Chevrolet Impala hardtop sedan is a pretty rare car in its own right; people preserved more coupes and convertibles than sedans, and over the years many of these things rusted away unloved. It landed the role essentially out of the necessity for a musclecar large enough to have a cameraman riding around in the back seat while filming. The LA-shot pilot used a couple of ex-cop machines and a star was born.

Part of the Supernatural Impala’s charm is its slightly menacing air and garage-project look. It doesn’t wear huge Chip Foose style rims, nor is it factory-trim prim and proper. The doors creak when you open them. There’s a line-lock strapped to the gearshift stalk. And then there’s what’s under the skin.

Six of the Impalas are just props. One of them is something else: a fully-built car that’s used for closeups and star work. The work is partially Ackles’ doing – rumor has it he’s hoping to keep the car after the show wraps, so he’s pushed for a few upgrades. More than a few actually.

Under that huge hood is a fully-built big-block Chevy V8, a 502 cubic-inch monster that idles like a bowling ball in an industrial dryer and barks like a Hellhound when you prod the throttle. The suspension is a complete Hotchkiss set up, and the car actually handles and brakes reasonably well. When the crew needed to set up a few establishing shots for a season’s traveling, they strapped cameras to the Impala and spent a week aimlessly roaming around the canyon roads and deserts of BC’s interior. “Most fun two weeks of my life,” says the car’s long-time caretaker.

The Impala is at least as potent in person as it is on screen, even if the demon-fighting apparatus in its trunk is just a prop. Supernatural? No – it’s the real deal.

In far rougher shape, but no less impressive, is the 1974 Mercury Marquis from Hawaii Five-O. This was Detective Steve McGarrett’s (as played by Jack Lord) car in the original series for six seasons. It continues to feature in the modern remake, functioning as the link between the two shows.

Unlike the Impala, there was only ever one Marquis. While a ’67 coupe was used in the pilot episode, and a ’68 Park Lane sedan filled in for the first six seasons, the black ’74 that saw out Five-O‘s run didn’t have a stunt double to take the punches. Like the original Ectomobile, it was the only car used, and that meant week after week of damage and repair. Often-times the mechanic, Mike Sakamoto, would be welding it back together into the wee hours of the morning.

The old girl’s in pretty sad condition. That salt-filled Hawaiian air is easy on the skin but rusty murder on old Detroit iron like this. Open the door and a small shower of iron oxide hisses down – it’s a miracle that a forty-year-old unrestored car survives like this.

Yet survive it does. The owner, John Nordlum, puts the key in the ignition and cranks the engine. The starter whirrs creakily, there’s a weak tuff-tuff-tuff of an old engine coughing to life, and then she fires. The Ford 460ci V8 sets up a beat, and once again McGarrett’s car glides off the set, and out onto patrol on the streets of Honolulu.

Nordlum was Jack Lord’s body double, and later Tom Selleck’s double on Magnum PI (which mostly used the same crew as Five-O). He was given the Marquis at the end of shooting the series, a gift from Jack Lord. Notoriously a forceful personality, Lord steamrollered any studio objections, and Nordlum got the keys.

The Marquis rumbles around the block without a catch in its step, though the body rolls like an ill-ballasted ship through the corners. There’s creaks and rattles aplenty, and even the shifter is liver-spotted with patina. But she still runs and drives, even after all these years. “We can’t get crew that’s lasted as long as that car,” Nordlum laughs, “It’s got a life of its own.”

Perhaps either the show or some eager fan will foot the restoration bill for the Marquis. Perhaps the Impala will end up in Ackles’ personal garage, to be trotted out now and then for a blitz around the block.

That’s the hope anyway – sure, both have been immortalized through the lens of a camera already, but each is not just a ephemeral fantasy. There is solidity here, realness beyond the showbiz glitz. It’s something to be honored and preserved.