# 37, Alias Darrin Stephens

Stephens' Patio:

• Script: Aunt Clara refers to the "Stardust" Room. Darrin corrects her to the "Starlight" room. This is done twice.
• Episode: Omitted.

Stephens' Living Room:

• Script: The spell to change Darrin into a chimp is: Abba dabba dabba Dabba dabba abba Ooba ooba dooba Remedium decapito zippidaro
• Episode: The line "Ooba ooba dooba" is omitted.   View this Spell in Spellbound!
  
  
• Script: Aunt Clara suggests three possible spells.
• Episode: The third spell is omitted.

Stephens' Kitchen:

• Script: The chimp enters with a note pad in his hand.
• Episode: Samantha hands the chimp the note pad after he is seated.
  
  
• Script: Samantha says she couldn't sleep with Darrin's scratching.
• Episode: Omitted.
  
  
• Script: Samantha tells Darrin that Aunt Clara is home reading every spell she ever knew.
• Episode: Omitted.
  
  
• Script: The chimp leaves the kitchen. Returns to write Samantha notes about her being too blasé about the whole thing. Samantha responds that she is worried, but is trying to act normal in unusual circumstances.
• Episode: Omitted.

Stephens' Living Room:

• Script: Samantha and Endora discuss Aunt Clara's problems with the spell.
• Episode: Omitted.
  
  
• Script: Chimp sees Larry coming and runs upstairs.
• Episode: Chimp is already upstairs.

Stephens' Bedroom:

• Episode: As soon as Larry leaves, there is a scene where Endora looks for the chimp and calls him.
• Script: This scene follows the scene where Abner calls the zoo.

Stephens' Living Room:

• Script: After Samantha tells Aunt Clara that she wants to tell Darrin she is expecting, Aunt Clara goes to the door and calls Darrin "So your wife can tell you that you are going to be a father."
• Episode: Omitted.

Zoo:

• Script: Samantha asks Darrin who turned him in to the zoo. Darrin replies that it was the Kravitzes.
• Episode: Omitted.
  
  
• Script: Darrin leads Samantha to a bench, she sits, he stands, before the conversation about him having had it with her family and her announcement that they are having a baby begins.
• Episode: They do not come to the bench until Samantha starts to tell him she is expecting.
  
  
• Script: Samantha says, " I'm pregnant." Followed by, "I'm going to have a baby."
• Episode: The line "I'm pregnant" is omitted.

# 38 A Very Special Delivery

Stephens' Bedroom:

• Script: Darrin tells Samantha that she has two symptoms of pregnancy. Samantha insists that she has only one – an expanding waistline. Darrin holds up a pickle that he found under her pillow.
• Episode: Omitted.

Stephens' Kitchen:

• Script: Samantha gets up to get the salt and pepper, just before she starts to get the butter.
• Episode: Omitted.
  
  
• Script: Darrin discusses his schedule for doing all the housework and shopping just before the line about "you were just expecting…"
• Episode: Omitted.

Stephens' Kitchen:

• Script: Endora pops in announcing that she has heard that Samantha is expecting. She berates Samantha that having children is not chic, and goes on to say that now she will be forever tied to Darrin and be earthbound.
• Episode: Omitted.
  
  
• Script: Endora says that Samantha will be surrounded by wall-to-wall children. Samantha replies that she can hardly wait. To which Endora replies that Samantha is sick.
• Episode: Omitted.

Stephens' Bedroom:

• Script: Darrin apologizes for his behavior the previous evening, and says Larry can have his theory back.
• Episode: Omitted.

Darrin's Office:

• Episode: Larry and Darrin discuss an upcoming meeting. Lines where Darrin says he "Is not feeling himself…" Darrin has a crying jag, and his feelings get hurt easily. Yet Darrin insists on going to the conference.

Outer Office:

• Script: Darrin's secretary discusses Darrin with Samantha. They talk about the way he is behaving. The script calls for this scene to be right after the meeting scene.
• Episode: The scene is intact, but is moved to after the scene in the doctor's office.

Street Scene:

• Episode: Just before the waiting room scene, a scene of an ambulance on its way to the hospital is added.

Bar:

• Script: As Darrin and Samantha leave the bar, Darrin says he just felt a kick. Episode: Omitted.

# 39, We’re In For A Bad Spell

NOTE: This review was based on a copy of the script issued to Marion Lorne.
Neither Larry nor Endora appear in the script or episode.

TEASER

Stephens’ Dining Room:

• Script: Darrin, Samantha and the visiting Adam Newlarkin are having dinner. Everything is going well until Adam’s clip-on bow tie falls into his soup.
  SAMANTHA: Don’t worry about it. Here . . .let me take it. [Samantha takes the tie and spoon and turns away as Darrin pours wine] Darrin’s been telling me that you’re something of a mathematical genius, Adam . . .
  ADAM: [modestly] Oh, it’s just a knack.
  DARRIN: Knack?! What’s 47,621 multiplied by 1,296?
  ADAM: [almost without a pause] 61,716,816.
  SAMANTHA: [returning to table] I see what he means.
  ADAM: Well, I enjoy working with figures. That’s why I became an accountant. [Darrin holds up a glass of wine in toast]
• Episode: All of the lines between Samantha taking the tie and Darrin raising the wine glass are cut.

Stephens’ Kitchen:

• Script: [Samantha and Darrin enter the kitchen]
  DARRIN: Look, Sam . . .I know you’re pregnant and subject to - - -moods . . .but just because Adam happens to come from Salem is no reason to . . .to victimize him!
• Episode: Darrin’s line up to, “...just because he comes from Salem...” is cut.

ACT I

Stephens’ Kitchen:

• Script: [There is a banging noise from one of the closets. Samantha moves to closest, opens door. Another camera angle shows the interior of the closet {the script calls for the use of an EXISTING SHOT}. Aunt Clara, her hat askew, is in the closet. She clasps a large book]
  CLARA: I’ve heard of flying by the seat of your pants . . .but this is getting ridiculous!
• Episode: Samantha hears a banging noise. She first looks out the kitchen door, then looks in the broom closet. Clara’s line is changed to, “I’ve heard of coming in on a wing and a prayer . . .but this is ridiculous."
  
  
• Script: [the scene continues]
  SAMANTHA: [helping her out] I thought you gave up flying, Aunt Clara.
  CLARA: Just short hops in good weather. [shaking head] I know the old broomsticks were uncomfortable, but at least they got you where you were going. [looks around kitchen] Where is the young man you’re so worried about?
• Episode: These lines are cut up to the point where Clara looks around.
  
  
• Script: Samantha has lines that end with, “He sentenced a witch named Zorelda to some horrible things, including being dunked three times in the local pond."
  CLARA: Oh, well - -that explains it. Zorelda could turn very nasty when provoked.
  SAMANTHA: You knew her?
  CLARA: And Clarence. I remember he had mangy hair and yellow teeth.
  SAMANTHA: Clarence was her husband?
  CLARA: No, dear . . .her dog! She had this spotted dog that went everywhere with her.
  SAMANTHA: I don’t understand. The spell was intended for the original Adam Newlarkin. I thought spells were non-transferable.
  CLARA: Zorelda must have put a namesake clause in it.
  SAMANTHA: You mean the spell is transferred to anyone of the same name?
  CLARA: Common practice in those days . . .
  SAMANTHA: But the spell was cast over two hundred years ago. Wouldn’t it have faded by now?
  CLARA: Oh, no, dear! In those days the girls really knew what they were doing . . .
• Episode: After Samantha’s line, “He sentenced a witch named Zorelda . . .”, the rest of the scene is cut.

Restaurant:

• Script: [Adam and Mr. Peterson are having an after lunch coffee]
  PETERSON: Well, we need a good accountant, and you come highly recommended by Mr. Wilkinson. I articled with him you know. Of course he must be getting on in years now. Let’s see . . .he was born in 1905, so that would make him . . .
  ADAM: [quickly] Seventy-three [Peterson stares at him. Adam frowns, takes another stab] Uh . . .fifty-one.
  PETERSON: Five from sixty-five is sixty.
  ADAM: Are you sure? [finds himself counting on his fingers as Peterson stares at him in disbelief] I make it fifty-four.
  PETERSON: [firmly] Sixty. [Adam shakes his head as if to clear it while Peterson picks up the check and looks at it. Peterson signs the check] There we are. Oh, the tip. Fifteen percent of ten dollars is . . .
  ADAM: [anxious to redeem himself] Four dollars! [Peterson slowly turns to look at him. Adam is flustered] Three seventy-five? [Peterson shakes his head] Uh . . .it’s around in there somewhere, isn’t it? [Peterson shakes his head grimly]
• Episode: The entire above scene is cut.

Stephens’ Living Room:

• Script: Darrin and Samantha are discussing the spell on Adam. The discussion continues after Samantha’s line, “It’s thicker than ink!”
  DARRIN: [picking up the book] Here . . .let me see that.
  SAMANTHA: [warningly] Darrin . . .
  DARRIN: [he has opened the book to find the pages are blank] The . . .the pages are blank.
  SAMANTHA: Of course they are. You’re not a warlock.
  DARRIN: You mean the book chooses who reads it?
  SAMANTHA: [taking book] Darling, it wasn’t meant for public consumption. What it boils down to is that before five p.m. tomorrow afternoon, Adam will steal a large sum of money and be branded a common thief.
• Episode: Between the lines, “It’s thicker than ink”, and, “Darling, it wasn’t meant . . .”, the lines are cut.

Stephens’ Living Room:

• Script: Aunt Clara lands in the fireplace. The script calls for a STOCK shot of her landing. She has gotten mixed in a sky divers competition, and won first place. She has found that Bertha had the book of antidotes, and the book will be arriving shortly. Clara answers a knock at the door, and the book is there, floating about five feet off the ground. The book floats in, settles on the sofa by Samantha, who tries to open it, but can’t. Clara comments that you have to be firm with the books, and Bertha probably had put a spell on it. Clara tries some incantations, and the book finely opens. Samantha asks what the antidote is.
• Episode: Clara arrives down the chimney carrying the book. Samantha asks if she got the book and then asks what the antidote is. The lines in between are cut.

Stephens’ Patio:

• Script: The script calls for music from a CELESTE to be heard after each step of the spell is completed.
• Episode: After Adam kisses the dog; the sounds of a CELESTE are heard. NOTE: A CELESTE [actually CELESTA] is a small piano type instrument with a four-octave range. Hammers striking steel plates, rather than wires as in a piano make sounds. This, combined with a built in echo chamber gives the CELESTA a most unique sound.

Stephens’ Living Room:

• Script: This scene is after Adam has been dunked twice and Darrin has called Samantha. SAMANTHA: [looking at watch] I wish I could get down there, but they’ll be leaving in ten minutes . . .I’d never make it.
  CLARA: [puzzled] I don’t understand, dear . . .you could be there in two seconds if you wanted.
  SAMANTHA: No, my doctor doesn’t want me to fly.
  CLARA: Could I lend a helping hand?
• Episode: The above lines are changed: Samantha: I wish I could be down there and help Darrin, but Adam knows me. . .
  CLARA: I don’t understand, dear . . .
  SAMANTHA: Well after being pushed in the pool twice by Darrin, I don’t think he’s likely to go near the water with me.
  CLARA: Could I lend a helping hand?

Bank – Accounting Office:

• Script: Calls for a shot of the accounting section, a counter with three desks behind the counter. Also, a door with a sign J. D. Abercrombie – Manager can be seen. Mr. Harding is seated at one desk and Adam is looking over his shoulder, watching a bookkeeping procedure. Adam sneezes. Harding asks how he got that cold. Adam says he knows how, but not why. The conversation continues with Harding speaking of his departure that afternoon to Rio. Samantha enters and calls to Adam. She tells him he should go home and go to bed. Adam refuses. Samantha moves to Mr. Abercrombie’s office door and is about to knock as Mr. Abercrombie comes out. After greetings, they both enter his office [the scene shifts to five minutes later at Adam’s desk with Abercrombie ordering Adam to go home].
• Episode: The accounting office has two desks with the bank vault on the right. The scene opens with Harding coming out of the vault. Adam is seated at his desk. They discuss Adam’s cold before moving to Harding’s desk where they discuss the procedure. The scene shifts to five minutes later. Samantha and Mr. Abercrombie are standing at Adam’s desk where Abercrombie orders Adam to go home.

Stephens’ Living Room:

• Script: Present are Samantha, Aunt Clara, Darrin, Mr. Abercrombie and a detective. Samantha says Adam will be back shortly. The Detective asks about Adam’s briefcase and starts to open it, but has trouble. Aunt Clara makes a sign. The detective gets the briefcase open and sees the briefcase is empty. The detective says that no money in the briefcase doesn’t clear Adam. Another camera angle shows the detective’s back plastered with thousands of bills. Samantha sees the bills, twitches and the bills disappear. Another camera angle shows the bills plop into the briefcase.
• Episode: The detective never gets to look into the briefcase, so the bit about the bills plastered to his back is cut, along with some of the related lines.

TRAILER

Script and Episode agree.

# 40, My Grandson, the Warlock

Note: The basic script used for this review is a Final Draft dated June 21, 1965. There are a few modified script pages included dated June 28, 1965 that will be referred to as “Revised Script”.

TEASER

London Hotel Room:

• Script: Larry Tate is on the phone to Darrin. Louise is packing a suitcase. Both wear robes.
• Episode: Both are dressed.
  
  
• Script: Larry continues his conversation with Darrin:
  LARRY: Yes… until Louise and I get back. We just received word that our governess has taken ill. I realize it’s the middle of the night there - - - but this is an emergency.
• Episode: The last line is cut.
  
  
• Script: Larry tells Darrin that they are having trouble getting reservations, but they will be on the first available flight. Louise complains that she knew she shouldn’t have left the baby to make the trip with Larry. Larry replies that he told her that he had rather come alone, and wants to know why she can’t learn to trust him.
• Episode: These lines are cut.

Kravitz’s Bedroom:

• Script: Gladys sees the Stephens’ leave and wakes Abner, saying she thinks Samantha is going to have her baby. Abner says it’s impossible; she is only two months pregnant.
• Episode: Abner says three months pregnant. Several times the script uses two months pregnant. In every case, the episode uses three months pregnant.

Stephens’ House-Exterior:

• Script: Darrin and Samantha arrive with the baby. Darrin takes a crib from the car.
• Episode: The bit about the crib is cut.

Kravitz’s Bedroom:

• Script: Gladys stares out of the window. She reacts as she hears the baby cry. She wakes Abner again. Between this point and Abner’s, “I got mugged in the tunnel of love”, the baby is heard to cry three times.
• Episode: The baby is not heard to cry. Gladys’ line about she heard it is changed to she saw it.

ACT I

Kravitz’s Bedroom/Stephens’ Living Room:

• Script: [There are intercuts between the Kravitz’s bedroom and the Stephen’s living room where Maurice has just arrived] Gladys runs in to tell Abner that Maurice has come to see the baby. Gladys says Maurice must be loaded and pulls Abner to the window to see the limousine. [Maurice has by this time made the limousine disappear]. When Abner gets to the window, the only thing to be seen at the curb is a pumpkin.
  MAURICE: [to Samantha] That’s shocking! You can’t put off so serious a matter as that sort of training. The earlier the better!
• Revised Script:
  MAURICE: That’s shocking. You can’t put off so serious a matter as that sort of training. A baby warlock is born with certain powers, of course. But they need to be developed if he is to reach his full potential.
• Episode: All bits in the Kravitz bedroom are cut. Maurice’s line from the revised script is used.

Stephens’ Bedroom:

• Script: Maurice cannot understand why the baby does not talk. Samantha did when she was four hours old.
• Episode: “- - and in six languages” is added to Maurice’s line.
  
  
• Script: Maurice has the line, “You’re in for a little adventure . . .Come on, boy, let’s go. [He gestures for the baby to follow, then disappears through the window. The baby burps. Maurice POPS back]. What’s holding you up? You can fly if you put your mind to it! Now. Concentrate. Ready . . .let’s go.
  SAMANTHA: Father?
  MAURICE: Oh, for - -You ought to be ashamed of yourself! [He picks up baby, vanishes through the window with it. Samantha enters].
• Episode: After Maurice says, "You’re in for a little adventure", he picks up the baby and vanishes just before Samantha enters. The other bits are cut.

Darrin’s Office and Stephens’ Living Room:

• Script: [Darrin and Samantha on phone]
  DARRIN: Where?
  SAMANTHA: Well, that’s the problem - -I don’t know where!
  DARRIN: Oh - - -Oh - - -Oh - - -
  SAMANTHA: Darrin, are you all right?
  DARRIN: I . . . I’ll be home right away.
• Revised Script:
  DARRIN: Where?
  SAMANTHA: That’s the problem . . . I don’t know where.
  DARRIN: [burbling] You don’t know wh – You mean he kidnapped the - - -He actually . . .Why would he take a - -Sam, that’s the most terrible . . .and you have no idea where - -that could mark the baby for life if he - -Oh, great!
  SAMANTHA: Honey, would you mind repeating that?
  DARRIN: I’ll - - -I’ll be home right away.
• Episode: The revised version is used for the episode with only minor changes.

Stephens’ Living Room:

• Script: Samantha and Endora disappear to search for Maurice.
• Episode: Samantha uses a strange arm lift motion to take off. Variations of this are used every time she pops out.

ACT II

Club Lounge:

• Script: The scene is the Warlock Club in London. There are no doors and windows and the drink servers are called “Kitty Girls”. They and the warlocks are seen passing through the walls. Maurice, in white tie and tails, has the baby on a green felt poker table. He tries to demonstrate the baby’s powers by transporting an ale bottle. Maurice starts it, but when he expects the baby to take over, the bottle falls to the table and breaks. Maurice POPS the bottle out. The warlocks insist that the baby has no powers, but Maurice will not accept that. He asks where Nanny Witch is.
• Episode: Only one “Kitty Girl” and no warlocks pass through the walls. Maurice does not wear a white tie and tails, but the same costume from earlier. The baby is in a baby seat on a plain table. The bottle falls to the floor, not the table. Maurice ignores the bottle after that. Maurice’s line about where he can reach Nanny Witch is cut.

Airport Loading Area:

• Script: Darrin and Larry are putting suitcases in the trunk of Darrin’s car. Darrin flips the latches on the last suitcase and it falls open. Larry starts to put things back in. Darrin stands by. Larry asks for help, and Darrin picks up a vase and examines it. Larry finally takes the vase. Darrin slams the trunk shut. Darrin fumbles with the key, and Larry takes over and gets the trunk open. Darrin flips the suitcase locks again and everything falls out. Larry refuses help, tells Darrin to get in the car. Darrin shuts the trunk as he goes by.
• Revised Script: Scene begins as in the script. Darrin starts to help Larry put things in, but takes out as mush as he puts in. He finally picks up a shirt and stares at it [instead of a vase]. The second flipping of the suitcase latches and closing the trunk is cut.
• Episode: The scene follows the script closer than the revised script. The shirt is used instead of the vase. Darrin takes as much out as he puts in, and the suitcase latch bit is done twice.
  
  
• Script: The scene continues with Darrin stalling by adjusting the car mirror, and talking to Louise about London. Endora pops on to the rear deck and motions Darrin to keep stalling. Darrin finally pulls out.
• Episode: [Scene flips to the Warlock Club]. At this point the Nanny Witch scene is moved up and inserted. However, only the second part of the Nanny Witch bit is shown as she tells Maurice that the baby is mortal. The scene returns to the airport, and the departure scene is put in here.

Warlock Club:

• Script: [Nanny Witch, a zillion years old, is sitting in a corner with a drink. Maurice has the baby in his arms.]
  MAURICE: Nanny Witch . . .you took care of Samantha . . . .
  NANNY WITCH: Who?
  MAURICE: My daughter . . .Endora’s daughter. Don’t you remember? You took care of her for us . . .
  NANNY WITCH: Barely - -they come and go, you know . . .[sees baby] Who’s this?
  MAURICE: My grandson. I hate to tell you this . . .but - - he’s Samantha’s child and . . .and the product of a mixed marriage.
  NANNY WITCH: Oh, my!
  MAURICE: He’s got to be a warlock. I insist upon it!
  NANNY WITCH: I’ll test him, but I can’t work with you under my feet. - - You wait here, [She takes the baby and exits. Maurice starts to pace anxiously.]
• Revised Script: [Nanny witch, an imposing figure of a woman is sitting in a corner. She booms rather than speaks. Maurice has the baby in his arms]
  MAURICE: Nanny Witch, you took care of Samantha for us, remember?
  NANNY WITCH: I remember all my babies. Loved all fourteen thousand and twenty two of them.
  MAURICE: Nanny, this is very important, so . . .
  NANNY WITCH: Samantha - - -Oh, yes! She certainly had a nose for witchcraft. Loved her . . . loved them all!
  MAURICE: I’m glad you remember - - -
  NANNY WITCH: Of course I remember her - -but who are you?
  MAURICE: [shocked] I’m her father!
  NANNY WITCH: Can’t place your face. Never remember the parents . . .Only the babies. Loved ‘em all! [looks at baby] Who’s this?
  MAURICE: My grandson! I hate to tell you this . . .but he’s Samantha’s child, and - -and the product of a mixed marriage.
  NANNY WITCH: I don’t care. I love ‘em all - -I love him already.
  MAURICE: He’s got to be a warlock. I insist upon it!
  NANNY WITCH: I’ll test him, but even if he’s not a warlock, I’ll still love him [she takes baby] Wait here! [She exits, Maurice starts to pace anxiously].
• Episode: Neither version of this scene is used at all.

Warlock Club: [sometime later]

• Script: [Maurice is still pacing. Nanny witch comes in with the baby. The baby is CRYING]
  MAURICE: [anxiously] Well - - -well - - -well?
  NANNY WITCH: [shaking head] It’s too bad, Maurice - - but your grandson is mortal like his father.
  MAURICE: [stricken] Are you sure?
  NANNY WITCH: Not even a response with the Mirror of Cagliostro.
  MAURICE: How can I face my friends? [to baby] Oh, shut up! I’m the one who has the cause to weep. What am I going to do with him?
  NANNY WITCH: Simple. Feed him! [she produces a bottle]
• Episode: A shortened version of this scene is inserted as a cut into the airport scene.

Street and Gas Station:

• Script: Darrin says he hears a noise and pulls into a gas station, gets out and opens hood.
  SAMANTHA: [In dirty coveralls, with oil smudges on her face, is looking at him - - -under hood on the other side of the car] Hi, honey!. [Darrin, startled, raises up and bangs his head on car hood] I wanted to give you a progress report - - -
  Darrin: [whispering] Did you find the baby????
  SAMANTHA: Not yet. Mother and I are running out if places to look.
  DARRIN: How about London? Louise said she saw a man with her baby on Bond Street.
  SAMANTHA: Bond Street? - -London???? Of course! The Warlock Club! Keep stalling the Tate’s a little longer.
• Revised Script: [Darrin stops the car in the street, gets out and raises the hood. Samantha POPS in under the hood, so that she’s sitting on the engine. SCRIPT NOTE: If this is not possible, she can sit on the radiator, as long as she is screened by open hood.] The lines are the same as the Script, except Wesley Street is used in place of Bond Street.
• Episode: The revised script scene is used, except Darrin does not bang his head on the hood. Samantha sits on the radiator.

Stephens’ Entry:

• Script: Louise starts up the stairs to get the baby. Samantha Twitches, and Louise comes down the stairs backwards.
• Episode: Louise turns and comes down the stairs properly.

Stephens’ Living Room:

• Script: After Samantha’s line, “Any time, Louise. We loved it - -didn’t we Darrin?
  DARRIN: [swallows] Yes, it was quite an . . .experience. [He opens the door and Louise exits with the baby.
  SAMANTHA: You sure you won’t change your mind and stay for something to eat?
  LARRY: No, I think we all need a good night’s sleep. [looks at Louise] Especially Louise!!! [Larry exits. Darrin and Samantha breathe a sigh of relief].
• Revised Script: [Darrin opens door and Louise exits]
  SAMANTHA: Darrin’s not used to being around babies. . .
  DARRIN: Can I help you switch your luggage from my car to the taxi?
  LARRY: Thank you, Darrin . . .that would be - - -[thinks] On second thought, never mind!!!
  [Larry exits. Darrin and Samantha heave a sigh of relief].
• Episode: The episode follows the revised script.

TRAILER

Stephens’ Living Room:

• Script: Darrin asks who brought the baby back. Samantha points to the stairs. Maurice is descending the stairs.
• Episode: Darrin’s line is cut. The scene opens with Maurice coming down the stairs. The remainder of the episode follows the script.
  

# 41, The Joker Is A Card

TEASER

Stephens’ Dining Room:

• Script: The table is set, with much care, for three.
  DARRIN: [dubiously] Sam, are you sure Endora agreed to come - - and be pleasant, too?
  SAMANTHA: [nods] I told her that you and she are the two people I love most in the world . . . and she agreed to make an effort to understand you better.
  DARRIN: Okay, Sam. But somehow I just can’t see us having a relationship where I call her “Mom”!
  SAMANTHA: [with a grin] Neither do I, but there is a happy medium.
• Episode: The above lines are cut. The scene begins with the arrival of Endora.
  
  
• Script:
  ENDORA: The table looks lovely, Samantha
  SAMANTHA: Thank you, Mother.
  ENDORA: How are you, Darrin?
• Episode: Between Samantha and Endora’s lines, Darrin has the line, “Hello, Mom!” added.
  
  
• Script:
  SAMANTHA: Mother! - - -A practical joker!
  ENDORA: I fail to see wha - - - Oh, no.
  SAMANTHA: [peers into the wine bottle] Are you in there, Uncle Chester?
• Episode: Loud laughter is heard between Endora and Samantha’s last lines.
  
  
• Script: [Samantha raises the lid of the serving dish, and Uncle Chester’s head is on the plate]. The script describes Uncle Chester as, “A Paul Lynde type of devilish, smiling warlock."
• Episode: The Episode changes the name to, “Uncle Arthur”. Throughout the script it is “Uncle Chester”, but throughout the episode it is “Uncle Arthur”.

ACT I

• Script:
  UNCLE CHESTER: [His head on the plate – looks around] Well, this must be the place! [The head vanishes. Uncle Chester materializes next to Samantha. He wears extreme, stylish clothes, a flower in his lapel] Samantha, my love . . .give your favorite uncle a hug!
  SAMANTHA [kissing his cheek] Uncle Chester! I’m so glad to see you.
  UNCLE CHESTER: Sammie, you’re still my princess [turns to Endora; she grimaces] And, Endora! - - -How’s the Madam de Forge of the broomstick set?
  ENDORA: I see you’re still as obnoxious as ever, Chester.
  UNCLE CHESTER: She’s crazy about me. [He then shakes Darrin’s hand warmly] And you must be Sammie’s hubby. Congratulations young fella! I wish you every happiness!
  DARRIN: Why, thank you, Uncle Chester.
  UNCLE CHESTER: Now - - -If I’m not too late for din-din, suppose I just whip us up a little something . . .[he makes a gesture]
  SAMANTHA: You don’t have to do that, Uncle Chester. I’ll just set another place. [She starts toward the kitchen].
  DARRIN: [Starts after her] I’ll help Sam . . .excuse me.
  UNCLE CHESTER: Just a second, Darrin . . .[makes a gesture; a large plastic hand appears] May I lend you a hand? [Uncle Chester laughs riotously. Darrin forces a little laugh, dashes after Samantha. Laughing, Chester makes the hand vanish]. Oh, my . . .How do I think of them!?
  ENDORA: I don’t know, but I wish you’d get over it!
  UNCLE CHESTER: Please, Endora! Even a warlock needs a hobby!
• Episode: This entire scene is cut.

Stephens’ Kitchen:

• Script:
  SAMANTHA: Just try and put up with his bad jokes, and be nice to him, - -Please, for my sake . . .? [She kisses him]
  DARRIN: Sam, I don’t know. I . . . [She kisses him again]
  SAMANTHA: For me???
  DARRIN: That’s an unfair way to win an argument. Sam . . I can’t help you get a pony, but I’d sure like to horse around with you!
  SAMANTHA: And you criticized Uncle Chester’s jokes?!
  DARRIN: Who’s joking?
  SAMANTHA: Come on! [They head toward the dining room]
• Episode: After Samantha’s line about putting up with Uncle Chester’s bad jokes, the rest of the lines are cut.

Stephens’ Dining Room:

• Script: Calls for the scene to take place in the dining room.
• Episode: The scene takes place in the living room.
  
  
• Script: Calls for Chester to gesture and a cow to appear beside the dining table.
• Episode: Arthur gestures and a cow appears behind the sofa.
  
  
• Script: Endora puts her spoon into the mousse cup and chocolate syrup squirts her in the face.
• Episode: Arthur gestures and the syrup hits Endora in the face.

Conference Room:

• Script: Calls for Darrin to stand at an easel next to a large refrigerator.
• Episode: Darrin stands next to a door marked, ”Easy Open Door”.
  
  
• Script: The refrigerator door sticks and will not open. Larry takes over trying to open the door while Darrin returns to the chart next to the refrigerator and stoops so his head is at the same height as the refrigerator door. Larry finally yanks the door open. Darrin cannot be seen, but there is a loud THUD sound. Larry closes the door revealing a dazed Darrin slumping to the floor. Larry kneels by Darrin and calls for some water as he cradles Darrin’s head.
• Episode: The “Easy Open Door” sticks. Darrin moves to the side of the door as Larry works on it. Larry yanks it open and the loud THUD is heard. The scene ends.

Stephens’ Living Room:

• Script: The scene opens with Darrin sitting and starring angrily, a large plaster on his nose as Larry walks out with Samantha.
  LARRY: See that he gets a good night’s rest, Sam . . . [to Darrin] Take care, Darrin.
  SAMANTHA: I’ll see you out, Larry.
• Episode: This bit is cut. The scene opens with Darrin lying on the sofa.

ACT II

Stephens’ Den:

• Script: [Darrin enters, closes door, and locks it. He looks around].
  DARRIN: [whispering] Uncle Chester . . .I’m ready for my magic lesson. [As Darrin moves into the room, Chester appears on chair behind him. A HAREM GIRL fans him with a large palm frond. Darrin turns, sees them and reacts]. Who’s that?
  UNCLE CHESTER: She’s one of my biggest fans! [He claps his hands and she disappears].
  DARRIN: [testily] Look, are you going to teach me magic - - or are you going to fool around?
  UNCLE CHESTER: [pleased] You’re angry . . .aren’t you?
  DARRIN: Of course I’m angry. My nose still smarts from where the refrigerator door got me.
  UNCLE CHESTER: Good. Anger releases adrenalin into your system and makes you mortals more receptive to magical influences.
  DARRIN: It does? - - -Why is that?
  UNCLE CHESTER: I don’t know. I’m a warlock, not a doctor!
  DARRIN: Look, I agreed to apologize to Endora - -So, she’s coming over tonight - - Can I be ready by then?
  UNCLE CHESTER: Of course. Now . . .have you any questions before we begin the lesson?
  DARRIN: Yes. What kind of a spell are we talking about?
  UNCLE CHESTER: Oh . . .just a simple, "Type A" spell . . .Something you see around the house every day. Do it correctly, and Endora will vanish!
  DARRIN: Vanish???! - -Isn’t that a bit extreme?
  UNCLE CHESTER: Oh, she won’t vanish permanently. Just for a few minutes - -But that’ll shake her up. Vanishing does that, you know . . . [beat] Still game?
  DARRIN: [ponders] Well, if that’s what it takes . . .Yes!
  UNCLE CHESTER: Good boy! Now, the spell consists of two components . . .First, the incantation . . .
• Episode: The above scene is cut. The scene begins with Arthur’s line,” The spell consists of . . .”.
  
  
• Script: Darrin reads the spell. He stops, not understanding the reason for the sound effects. Chester tells him a mortal needs reinforcement, in this case, sound effects. He reads the spell again. The scene ends with Chester saying, “Again!”
• Episode: Arthur corrects Darrin’s pronunciation, and then tells him he has to chant the spell. The episode contains more repetitions of the spell than is called for in the script. The episode also adds the swaying movements. The bit with Arthur playing the incantation for Darrin is also added. After the scene with Samantha and Endora discussing what Endora has done to Darrin, the scene in the den resumes with Darrin working up his nerve to try the spell. He starts out of the den, comes back for more encouragement, and finally leaves for the living room.

Stephens’ Living Room:

• Script: Calls for Darrin to drop the cowbell and duck call and exit up the stairs.
• Episode: Darrin take them with him as he goes upstairs.

Stephens’ Living Room: [later]

• Script: ENDORA: I didn’t realize how fond of me you were, Chester.
• Episode: The line is changed to, “I didn’t realize you cared, Arthur."
  
  
• Script:
  SAMANTHA: [softly] That’s exactly the point.
  UNCLE CHESTER: [looks from one to the other] I never meant to hurt anyone, Sammie. It was all in fun . . .
  SAMANTHA: Fun for you. Not for them.
  UNCLE CHESTER: [finally] Yes, I’m beginning to realize that. This is the first time I have ever been on the receiving end.
  SAMANTHA: We had to do it Uncle Chester.
• Episode: After Samantha’s line, “That’s exactly the point”, the rest of the lines are cut.

TRAILER

Stephens’ Living Room:

• Script: Chester gives Endora opera glasses. She tries them and when she takes them down she has two black eyes.
  SAMANTHA: Uncle Chester, you said no more jokes!
  UNCLE CHESTER: I know. I lied!!! [The three look at him accusingly. Under their stony gaze, his smile fades]. Okay . . .so I’ll taper off!
• Episode: The episode agrees with the script up to the point where Arthur says he will taper off. He then gestures and Endora has only one black eye.
  

# 43, Trick Or Treat

NOTE: This review is based on a “final draft” script, dated July 16, 1965, and a “1st revised final draft” dated July 22, 1965. There are considerable differences between the original and the revised scripts, especially in the early parts of the scripts. As the story progresses, the two scripts come closer together. Where there are major differences, the content of both the “original” and the “revised” scripts will be given.

TEASER

Stephens’ Kitchen:

• Original Script: The day before Halloween, Darrin and Samantha discuss the very different meanings Halloween has to each of them. Darrin happily fills candy bags to give away to “trick or treaters” as he tells Samantha about the fun he had as a child on Halloween. For Samantha, Halloween is a very solemn occasion, bringing back memories of how witches are made fun of and demeaned on that day. Also, Endora is upset because Samantha and Darrin are having a dinner party on Halloween, and refuses to accept that it is not a witch bashing. Endora insists that Samantha go with her to the Sacred Volcano.

Stephens’ Bedroom:

• Revised Script: Samantha and Darrin are asleep. Endora POPS in and awakens Samantha to tell her that they are going to the Sacred Volcano, and she has three hours to pack her bag.
• Episode: The episode follows the revised script. The main difference being that Endora gives Samantha four hours to pack.

ACT I

Stephens’ Kitchen:

• Original Script: [continuation of teaser] Darrin wants to know what goes on at the Sacred Volcano. Samantha tries to explain the rituals that they have on high holidays. Darrin interrupts to remind her that because she is expecting, she is not to hang upside down. Samantha says she will not, but Endora will because she is orthodox. Darrin still objects to her going. Samantha says it is only to please her mother, and she hasn’t been there in years. Samantha makes an effort to go into some detail, telling Darrin that they first light a torch [Darrin wants to know why a torch?] because it is dark in the volcano. Then they sit down . . .Samantha realizes that Darrin will never understand so she stops her explanation, telling Darrin he would never understand about the frog and goat. Darrin finally gets her to admit that she doesn’t really want to go, but would go to please her mother. Darrin becomes very demanding and tells Samantha that she cannot go, and he wants to hear no more about it.
• Revised Script: This script contains some of the elements of the original script Teaser. In addition, Samantha notes that when she married Darrin, it was for better or for worse, and that Halloween is one of the worst.
• Episode: The above scenes from both the original and the revised script are not used in the episode.

Darrin’s Office:

• Original Script: Darrin is typing. He stops to look at a chart and the typewriter starts typing by itself, leaving the message, “Samantha is going to the volcano tonight”. Endora POPS in, and they go through the, “she is going, she is not going” bit again. Darrin resumes typing. Suddenly the keys don’t work.

Stephens’ Living Room:

• Revised Script: Endora POPS in, asking Samantha if she is ready to go. Samantha tells Endora that she is not going. It is at this point in the revised script that Samantha tells Endora about the dinner party. There follows a conversation parallel to the original script about the dinner party, the debasement of witches, and Halloween in general. The scene continues with Samantha receiving the package of witch masks.
• Episode: The episode follows the revised script closely.

Darrin’s Office:

• Original Script: [The scene in Darrin’s office continues]. Darrin and Endora continue to argue over Samantha’s going to the volcano. Darrin orders Endora to leave, saying he has to go to a meeting. When he steps out from behind his desk, Endora has swiped his pants. He hurriedly retreats. Endora restores his pants, but then fastens his feet to the floor as she exits.
• Revised Script: Darrin is on the phone with Samantha trying to find out what has upset her. Larry is present and says he sent the witch gear to Samantha. Larry accuses Darrin of acting funny. Larry leaves and Endora POPS in. The two scripts merge here.
• Episode: The episode follows the revised script closely. The parts about the typewriter typing by itself and Endora swiping Darrin’s pants are not used.

Stephens’ Entrance Hall:

• Original Script: Twice during the arrival of the guests and Darrin’s rushing off to shave, Endora, in her own form, is seen peeking out of the den door and laughing.
• Revised Script: Endora is only shown once.
• Episode: Endora is not shown in her own form at all during this time.

Stephens’ Den:

• Scripts: Darrin goes into the den to cut his fingernails. He is ready to leave when Endora [girl] points out that he has hair growing over his socks and shoes.
• Episode: The bit about hair growing over his socks and shoes is cut.
  
  
• Scripts: As Darrin comes out of the bathroom after shaving again, Larry meets him. Larry wants to know what is wrong with Darrin, and why has he been in and out all evening. Further, Larry wants Darrin to spend more time with the client since he is such a large account. Larry puts his arm around Darrin, reacts, and wants to know why Darrin is wearing a sweater.
• Episode: This scene is cut.

Stephens’ Dining Room:

• Original Script: Samantha enters with a beautiful roast. Darrin begins to slice the meat. Suddenly he growls and tears at the meat, ripping off chunks. Darrin covers by claiming that in the army he learned that meat in chunks was better. After everyone is served and eating, Darrin suddenly lets out a growl and attacks the meat with his bare hands. Samantha quickly excuses him by saying he learned to eat quickly in the army.
• Revised Script: The meat carving part is omitted and the scene begins with Darrin eating with his hands.
• Episode: The entire scene from both script versions is not used.

Stephens’ Living Room:

• Scripts: All except Darrin are seated in the living room. There is a lot of banging noises coming from the kitchen. Darrin is supposedly repairing the garbage disposal. Actually, he is looking for Endora. Samantha is twitching up the noises to cover his absence.
• Episode: This scene is entirely cut.
  
  
• Scripts: Larry and the client have brought Darrin in from the patio. Darrin begins tearing the drapes, growling, and walking bent over, ape-like. He knocks over the coffee, and rips the sofa.
• Episode: The scene is toned down a bit. Darrin does not tip over the coffee, tear the drapes, or rip the sofa. He does tear into a pillow with his teeth and scatters the stuffing about.

Stephens’ Hallway:

• Original Script: Darrin is afraid of what he might do and asks to be locked in a closet. Endora POPS in. Samantha tears into her for what she has done and demands that Endora remove the spell. Endora replies that it is after midnight, Halloween is over, and the spell is off.
• Revised Script: The same as the original script until the point where Samantha tears into Endora. Endora justifies her actions by claiming that Darrin needed to be taught a lesson. Samantha gives her a real tongue-lashing primarily about Endora acting like a mortal herself when she should be above that. Endora admits she was wrong and removes the spell.
• Episode: The episode follows the revised script.

TRAILER

Stephens’ Hallway:

• Scripts and Episode: The scripts and episode agree up until the very end where the scripts give Endora the line, “Oh, he won’t mind . . .until he tries to take his pants off”.
• Episode: Instead of the last line, Endora POPS out.
  

# 44, The Very Informal Dress

TEASER

Stephens' Kitchen:

• Script: Aunt Clara is visiting Samantha. They have just finished breakfast and Samantha is cleaning up while Aunt Clara has a cup of coffee. Samantha leaves the kitchen. Aunt Clara takes her cup and saucer to the breakfast nook (NOTE: There is no breakfast nook on the set until the 7th season). She calls the coffee pot to come to her. The pot makes it halfway then drops and spills. When Aunt Clara jumps up she knocks the cup and saucer to the floor, breaking them. Samantha reenters as Aunt Clara is making an ineffectual attempt to clean up the mess. There are lines between Samantha and Aunt Clara about it being one of Aunt Clara's bad mornings. As Samantha is bringing Aunt Clara another cup of coffee, she notices that Darrin has left his attaché case. Samantha has a line about she knows he will need it this morning.

Darrin's Office:

• Script: As Darrin enters his office he realizes that he has forgotten his case. At this point Larry Tate comes out of his office with a client, Charles Barlow. Larry introduces the two.

Stephens' Kitchen:

• Script: Samantha is holding the case. Aunt Clara tells her to send it to him. Samantha twitches and the case disappears.

Darrin's Office:

• Script: As Darrin puts out his hand to shake hands with Barlow, the case suddenly appears in his hand. Darrin continues to raise his hand and shoves the case into Barlow's hand. Barlow shakes the case, realizes what he has done and reacts. Darrin looks at the case and grins, realizing how it got there and mouths, "Thank you, dear". As Larry and Barlow stare at Darrin the scene fades out.

END OF TEASER

ACT I

Larry Tate's Office:

• Script: Barlow opens a sample case and takes out a jar of "Mother Jenny's Jam". There are lines as Barlow describes how good the jam is, and how good it is for you. Barlow then brings out spoons and stuffs a spoonful of the jam into both Darrin and Larry's mouths. Both react in a negative manner while Barlow continues to extoll the virtues of the jam. Barlow then announces that he must meet all of the "business family" to approve of them before he will give his account to McMann & Tate. He does not consider this another business account, but a sacred trust.
• Episode: This entire above section (six pages of script) is deleted entirely. The actual episode begins with:

Stephens' Entry:

• Script: Darrin enters carrying a case of jam.
• Episode: After greetings, lines are added with Darrin asking to talk to Samantha in the kitchen, a line about the box being heavy, and Samantha's line about "carrying the heavy box would make you healthy."

Stephens' Kitchen:

• Script: Darrin tells Samantha that the jam has no sugar, no flavoring and no taste. Samantha opens the back door and tells Darrin to keep going with the jam out the door. Darrin replies that they are big jars and could be used for door stoppers. Aunt Clara adds that 24 of anything is nice to have.
• Episode: The above scene is cut.

Stephens' Entry:

• Script: The color of the second dress that Darrin suggests that Samantha wear to the party is not mentioned.
• Episode: The dress color is given as green.

Stephens' Living Room:

• Script: After Aunt Clara takes the coat hanger out of the closet she says, " Spring-a-ding-a-boo!!!" An old fashioned middy blouse and bloomers appear. Aunt Clara tries again with another "boo" added to the incantation and a topless bathing suit appears. She makes it disappear and tells herself to concentrate.
• Episode: The above is cut entirely, and the episode teaser ends here.

Stephens' Kitchen:

• Episode: In the discussion about Aunt Clara going to the party, a line is added about how they are looking for a chance to show Aunt Clara off.

Street Scene:

• Script: After Darrin parks the car he remarks that, "It is not tough to find a parking space if you have an aunt who is a witch."
• Episode: This line is cut.
  
  
• Script: As the policeman follows Darrin around the car, Aunt Clara threatens to turn the cop into a toadstool.
• Episode: The line is cut. Lines are added about the policeman knowing where every fire hydrant in the area is located.
  
  
• Script: As the policeman realizes the hydrant is not beside Darrin's car, he says "I thought I had you this time.
• Episode: The policeman says, "I had a rough day". The lines about the police commissioner's car now being parked next to the hydrant are added.

McMann & Tate's Conference Room:

• Script: The punch is described as a fruit punch.
• Episode: The punch is a vegetable punch.
  
  
• Script: Aunt Clara calls for a vote to decide who likes the jam.
• Episode: This scene is shortened.
  
  
• Script: Barlow says that he has come to one conclusion- early sleep is the best sleep.
• Episode: Barlow says he has come to two conclusions- One, pure nutritious foods, and two, early sleep.
  
  
• Script: When Aunt Clara tastes the punch, she calls it a witches's brew, and who would know better than she.
• Episode: This is cut.
  
  
• Script: Darrin looks at Samantha's red dress. Samantha says, "Why not?"
• Episode: Lines are added. Darrin complains that the color change is too conspicuous, and she should have stayed closer to the original.
  
  
• Script: An unobservant Larry tells Samantha that it is a lovely dress she has been wearing all evening.
• Episode: This line is cut.

Street Scene:

• Script: As the policeman chases Darrin and Barlow around the car, they suddenly change to three dogs for a couple of laps before they change back to humans.
• Episode: This part is cut.

Stephens' Street and Driveway:

• Script: Aunt Clara gets out of the car and says, "Horses were nicer."
• Episode: Line is changed to one about being a back seat driver. The scene is moved up. In the script, it does not appear until after the first jail scene.

Stephens' Living Room:

• Script: Aunt Clara is polishing her crystal ball and making comments about it needing an overhaul.
• Episode: The lines about overhaul are cut.
  
  
• Script: There are lines about Darrin going to freeze to death.
• Episode: These lines are moved to later and given to Samantha.

Jail Cell:

• Script: The drunk makes a comment that lushes are not of any particular race, color, creed, or national origin.
• Episode: These lines are cut.
  
  
• Script: Calls for Darrin to wave his sword about, and has lines about how only he could save Venice from the Berbers.
• Episode: This bit is cut.

Stephens' Living Room:

• Script: Aunt Clara has lines about the good old days, and that they don't make men like that anymore. Samantha has appeared and both are looking in the crystal ball.
• Episode: This scene is cut. Samantha does not appear at home until after the scene at the Tate's.

Tate's Living Room:

• Episode: A scene is added where Samantha tells Larry that she thinks something is wrong, and she is going home.

Jail Cell:

• Script: After Darrin's suit of armor disappears, he appears in a caveman outfit, complete with club.
• Episode: The caveman bit is cut.

Stephens' Living Room:

• Script: There is a long scene where Aunt Clara moans about how she tried to get things straight, but could not. Samantha consoles her.
• Episode: This scene is entirely cut.

Jail Cell:

• Script: The drunk tells Darrin he has bony knees and should stick to armor, not tights. Darrin replies that at least armor wears like iron.
• Episode: These lines are cut.

Court Room:

• Script: The drunk says that Darrin had fancy tights and a big sword like Errol Flynn.
• Episode: Errol Flynn is changed to Richard Burton.
  
  
• Script: Drunk has a line about the cavemen.
• Episode: This line is cut.
  
  
• Script: The judge says to wipe this whole episode from the record as if it never happened.
• Episode: The judge says the case is dismissed.

Stephens' Living Room:

• Script: Lines about Larry firing Darrin. Larry enters...
• Episode: The lines about Darrin being fired are cut. A scene is added where Aunt Clara is leaving and saying good-byes, but needs a boost from Samantha in order to leave. Then Larry comes in.
  
  
• Script: Barlow has told Larry a wild tale about clothes disappearing, Darrin being arrested, dogs running around the car, etc.
• Episode: These lines are cut.

# 45, ...And Then I Wrote

TEASER

Stephens’ Entry/Living Room:

• Script: Dr. Passmore has entered and stands talking to Samantha about a pageant for the Meadowbrook Rest Home.
• Episode: Samantha answers the door to admit Dr. Passmore. He introduces himself and asks to see Darrin, explaining that he needs an advertising man. The episode then continues from where the script begins.

Stephens’ Living Room: [later]

• Script: After Samantha’s line, “Write the pageant - -!? Me. . . ???:
  DARRIN: Your grammar and your history is brilliant, isn’t it? - - Why not?
  SAMANTHA: Darrin! - -I’ve got ironing . . .and washing . . .and dishes . . .and dusting.
  DARRIN: Yes, but after that, this’ll give you something to do!!!
• Episode: These lines are cut.

ACT I

Stephens’ Den:

• Script: The script calls for the scene to open with Samantha sharpening pencils [51 of them], arranging them in a floral pattern in a jar on top of the desk, then sit at the typewriter.
• Episode: The scene opens with Samantha seated at the typewriter and Endora POPPING in.
  
  
• Script: Endora wants to go shopping, but Samantha won’t go because she is writing the play. Endora reminds Samantha that she can write the play in ten seconds. Samantha says she is tempted, but she would feel guilty.
• Episode: Most of these lines are cut.
  
  
• Script: Scene shifts to Kitchen.
• Episode: A scene is added in the den with Darrin reading Samantha’s script, frowning as he does. Samantha stands by, anxious to see what she will say. She makes comments about it is rough and to not expect too much. Darrin is so wrapped up in what he is reading that in reply to Samantha’s comment about not to expect too much, he replies, “A sandwich will be fine”. The scene then shifts to the kitchen as per the script.

Stephens’ Living Room:

• Script: Endora POPS in. After Endora’s line about the war taking longer to write than to fight, she continues:
  ENDORA: [struck with an idea] I know! Obviously, what you need is inspiration! I’ll turn myself into a raven.
  SAMANTHA: What good will that do?
  ENDORA: Well, it worked for Edgar Allen Poe!
  SAMANTHA: No, Mother.
  ENDORA: I could become a glorious sunset - - -That’s inspiring!
  SAMANTHA: [shaking her head] Thanks, anyway . . .
  ENDORA: Don’t mention it. After all, if she can’t be a raven . . .or a sunset . . . what’s a mother for?
• Episode: The above lines are not used.
  
  
• Script: Captain Corcoran has the line, “A rebel captain without a beard?”
• Episode: The line is changed to, “A Confederate officer without a beard?”

Outside Stephens’ House:

• Script: Gladys has seen Captain Corcoran and his horse through the window. Now she drags Abner to the house to look in the window. Abner looks and sees nothing, and they have the lines:
  GLADYS: He was there!!!!! - -I swear, he was there! - - -And what would a horse be doing in her living room?
  ABNER: Maybe he was hungry. Was Samantha feeding him some hay?
  GLADYS: Oh, Abner - - Where would she get hay?
  ABNER: [shrugs] From the same place she got the horse. [Abner leaves the scene].
• Episode: The entire bit with Abner is cut.

Stephens’ Living Room:

• Script: The script calls for the Indian to have a fine headdress.
• Episode: The Indian has a headband with a single feather.
  
  
• Script: After Samantha says, “Sort of a chorus”, the script has the Indian say, “Well, it’s okay with me”.
• Episode: The following lines are added in between:
  SAMANTHA: May I ask you a question? Why don’t you talk like an Indian?
  INDIAN: Why don’t you think like one?
  SAMANTHA: That’s because I don’t have a cliché mind.
  
  
• Script: After Samantha brings up a Northern girl for a love interest, Corcoran has the line, “Good conflict”.
• Episode: The line is given to the Indian.
  
  
• Script: Gladys returns to be nosy, pretending to borrow a cup of sugar. The Indian and Violet appear. Gladys has the line, “I thought Samantha said she was all alone”. Violet and the Indian then walk across the room and through the kitchen wall, sending Gladys screaming out of the house.
• Episode: “Samantha” is changed to “Mrs. Stephens”. Violet and the Indian are shown approaching the wall, but never shown going through it.

Stephens’ Living Room: [later]

• Script: Darrin enters. While he greets Samantha, the three characters appear in the living room. Darrin wants to know who they are. Samantha says that they are characters in her play and just figments of her imagination. Darrin says he did not mean for her to literally “flesh out the characters”. Samantha explains that this is what happens when witches write. Darrin has a, “now she tells me” line. He asks Samantha to make them disappear, to which Samantha replies that she can’t stop thinking about them. She kisses him and the characters POP out.
• Episode: When Darrin first sees the characters, he tells Samantha that he sees them and names them off. Samantha repeats what he has just said.. This is followed by Samantha’s statement that they are just figments of her imagination. The rest of the scene is cut up to the point where Samantha kisses Darrin.

Stephens’ Bedroom:

• Script: The three characters appear to tell Samantha how to write the second act.
  INDIAN: Now, get this. This could be the big scene in the play! - - -Corcoran gets on his horse, and . . .
• Episode: The line is continued: rides out onto the blazing battlefield. . . .

Kravitz’ Living Room:

• Script: Abner and Gladys argue about what she has seen. Abner calls a psychiatrist.
• Episode: This scene is left intact, but is moved to after the scene where Darrin and Samantha are having breakfast, and Darrin wants Samantha to drop the project.

Stephens’ Kitchen:

• Script: The Indian and then the other two appear and want a pow-wow. The Indian says some of the little speeches are stilted. Corcoran wants to be a little wittier, and Violet wants some new dresses. Darrin gets into the arguments and finally forbids Samantha to write for the characters. Samantha does not listen to Darrin.
• Episode: This scene is cut.

Dr. Passmore’s Office:

• Script: The script calls for Dr. Passmore to be seated at his desk as Darrin shows him posters. In between posters, Passmore asks Samantha how the play is coming. Violet appears, sitting on the corner of the desk, applying lipstick.
• Episode: The scene begins with Samantha and Darrin entering Dr. Passmore’s office. He is standing to greet them. Samantha and Passmore are seated while Darrin begins to show the posters. Passmore’s line to Samantha about the play is deleted. Violet is seated, but not on the corner of the desk, and she combs her hair rather than applying lipstick.
  
  
• Script: When Passmore sees the three characters he pulls pills out of his desk and begins popping them all the while repeating, “It’s all in my mind,” over and over. Darrin starts to hustle Samantha out saying she is not feeling well and he is taking her to a doctor. Corcoran and Violet follow Darrin and Samantha out, but the Indian goes through the wall. Passmore gets on the intercom and asks his secretary if anything unusual walked out of his office. Her voice is heard to say, “no”. Passmore has a line about needing a vacation.
• Episode: When Passmore sees the three characters, he names them off to Darrin who repeats what Passmore has just said [with a “I don’t believe you look and tone of voice”]. Darrin and Samantha then exit with all of the characters following them out the door. After they leave, Passmore begins popping pills and saying, “It’s all in my mind”.

Dr. Passmore’s Secretary's Desk:

• Script: After Darrin, Samantha, and the characters leave, the secretary has the lines, "It’s all in my mind . . .It’s all in my mind . . .”
• Episode: This bit is cut.

Stephens’ Den:

• Script: Samantha is trying to finish the play. The three characters appear and tell her they will tell her how to end the play:
  INDIAN: I say to Corcoran: - - You spend the night here . . .I’ll run and tell Violet you’ve been shot!
  CORCORAN: And I say, “I don’t want anybody feeling sorry for me!” [there are intercuts of Samantha, typing furiously with two fingers. Darrin looks on, bewildered]
  INDIAN: And I answer . . .”Sorry? - -Is that all you can think about?” BLACKOUT!
  CORCORAN: Act three . . .
  VIOLET: Scene One . . .[ there is a time skip here, and then the characters continue with their dictation]
  VIOLET: And I say. . . “I hope I never live to see another day like this one!” [to Samantha] Got that? [Samantha, typing, nods] I burst into tears!
  CORCORAN: [softly] BLACKOUT! The end.
  INDIAN: [softly] Curtain. [the characters bow and POP out]
• Episode: The above scene is completely re-written. The Characters describe the ending of the play. The Indian tells Corcoran that the South has lost the war. Corcoran cannot stand the disgrace and shoots himself. Violet enters and sees the Indian standing over Corcoran. Thinking the Indian has killed Corcoran, Violet takes the gun and shoots the Indian. The Indian lives long enough to tell Violet that Corcoran shot himself. Violet then gives her closing speech about a new nation will arise.

TRAILER

• Script and Episode agree.

# 46, Junior Executive

NOTE: This episode is a little unusual in that Endora is cast completely as the villain. At no time in the episode does Samantha take up for her, or really try to justify her behavior.

TEASER

Stephens’ Den:

• Script and Episode: The script for the TEASER agrees with the episode.

ACT I

Stephens’ Kitchen:

• Script: Samantha and Darrin both say that Endora acted irresponsibly.
• Episode: They both say that what Endora did was terrible.
  
  
• Script: After Darrin says he has been shouting at the wrong person, he continues:
  DARRIN: It’s not your fault. I mean, you didn’t ask to have a mother like that.
  SAMANTHA: If it’s any consolation, you really were a cute little boy!
  DARRIN: [still a little icy] But a little immature to be a parent, don’t you think?
  SAMANTHA: Well, strictly speaking, that’s not true. Mother didn’t change your character - -just your appearance!
• Episode: The above lines are cut.
  
  
• Script: Darrin has the line, "Sam, the moment I feel a bear-skin rug on my stomach, I’ll - - -" [She stops him by holding up her crossed fingers in a promise].
• Episode: No crossed fingers. She waves good-bye to him.

Lobby of Office Building:

• Script: The lady asks Darrin [the boy] if he has lost his mommy?
• Episode: After her question, she pinches his cheek.
  
  
• Script: After Darrin [the boy]’s line, “Believe me I’m good for the dime”:
  LADY: [Taking his hand] Now, don’t worry. You be a brave little soldier, and I’ll be your mommy until you find your real mommy. [Darrin [the boy] is very uncomfortable] I’ll just adopt you for a little while.
  DARRIN [THE BOY]: Look . . .I appreciate your . .uh . . .interest - -but all I need is the dime.
  LADY: [Digging into her purse] Well . . .you certainly are a self-sufficient little boy. Here. [she hands him the dime].
• Episode: Between, “I’m good for the dime”, and the lady handing Darrin [the boy] the dime, the lines are deleted.
  
  
• Script: Darrin is now full size. He hangs up, exits booth, and the lady stares in astonishment. He looks at her, hurries by. She looks after him, then peers into the phone booth. She peers under the seat, still looking for the little boy as the scene fades.
• Episode: Darrin leaves the phone booth, passes by the woman, turns back and pinches her cheek. He exits as the scene fades. [He never did give a dime back to her]

Stephens’ Living Room:

• Script: Larry asks, “Are you going to have the boy there or not?” Then:
  DARRIN: Larry, isn’t there an alternative?
  LARRY: Yes, there is - - -lose the account! Now . . .which is it going to be?
  SAMANTHA: [tentatively helpful] Honey, if you really want the boy there, it . . .uh . . .can be arranged.
  LARRY: [picking her up] Great! Glad you see it my way, Darrin. Have the boy there at nine tomorrow morning.
  DARRIN: [shoots an angry look at Sam; to Larry with feeling] He’ll be there . . . .
• Episode: After Larry’s “Have the boy there”, the lines are cut until the last line, “He’ll be there”, but that line is given to Samantha instead of Darrin.

Street Outside McMann and Tate’s Building:

• Script: The two boys have run off. Darrin starts to follow;
  SAMANTHA: Darrin, why aren’t you at the meeting?
  DARRIN [THE BOY]: Sam, I don’t want to go up there yet . . .
  SAMANTHA: Why not?
  DARRIN [THE BOY] I want to play with the other kids! [he runs off yelling] Hey, gang - -wait for me!!! [Samantha is very puzzled at his behavior]
• Episode: The two boys run off for the park. Darrin runs after them. Samantha follows. All of the above lines between Darrin and Samantha are cut.

Park:

Note: During the following park scenes, Darrin [the boy] and Boy’s #’s 1 and 2 are hanging upside down from a bar.

• Script: Samantha asks Darrin if he is going to be long?
  DARRIN [THE BOY]: Let me play a bit longer, Sam.
  BOY # 1: Sam? What kind of a name is that for a mother?
  DARRIN [THE BOY]: She’s not my mother. She’s a - -a friend.
• Episode: These lines for Darrin [the boy] and Boy # 1 are cut.
  
  
• Script: Boy # 2 says to boy # 1 that he spit two feet further yesterday.
  BOY # 1: Yeah, but that was right side up. I bet I could spit further than you upside down.
• Episode: Boy # 1’s line is cut.
  
  
• Script: Boy # 1 tells Darrin [the boy] that he doesn’t like the toy boat because, “they don’t do nothing!”
  DARRIN [THE BOY]: Do anything? But they’re not supposed to . . .
  BOY # 1: So what good are they? Your father builds them. Then they just sit there - - -!!
• Episode: These two lines are cut.
  
  
• Script: Calls for Samantha to TWITCH to make Darrin [the boy] into Darrin [the man].
• Episode: Samantha points two fingers at Darrin, makes a rising motion to the right height and finishes with a forward motion of her fingers. NOTE: Every time Samantha is called to change Darrin’s size, the script calls for her to TWITCH. In the episode she points two fingers at Darrin, makes a motion with her arm in the direction she wants him to grow, and finishes with the forward motion of her fingers.

Outside Larry’s Office:

• Script: Darrin has left Larry’s office to go to his office to get the boy.
• Episode: He stops by the secretary’s desk and lights a cigarette.
  
  
• Script: Darrin returns from his office as the boy, smoking the cigarette.
  SECRETARY: Oh, you shouldn’t do that!
  DARRIN [THE BOY]: Do what?
  SECRETARY: Smoke at your age. It’ll stunt your growth. [he looks at the cigarette in his hand] You want to grow up to be a big, strong man . . .don’t you?
  DARRIN [THE BOY]: You don’t know how much . . . [stubbing cigarette] And the sooner the better!
• Episode: This scene is cut. NOTE: When the boy leaves Darrin’s office he has the cigarette in his hand, but when he enters Larry’s office he does not.

Larry’s Office:

• Script: The boy has been squirting Larry and the client with a water pistol. When they finally take it away from him, he throws himself face down on the floor, kicks his feet, pounds his fists and screams to get the pistol back.
• Episode: The boy jumps in a chair, jumps up and down and screams.

TRAILER

Park:

• Script and Episode: The script and episode agree.
  

# 47, Aunt Clara's Old Flame

NOTE: The first page of each script has a "Cast List", and a "Set list". In this script the "Cast list" calls for a KANGEROO. [the spelling of kangaroo is not correct, but the script spells it this way throughout] It appears that the script originally called for a KANGEROO. As the production of the episode got underway it seems that the use of a baby elephant was more practical. Changes were made to the script during rewrites, but not all of the references to a KANGEROO were deleted since the script alternately calls for a Kangaroo or an Elephant, but only an Elephant was used in the episode.

TEASER

Stephens' Kitchen:

• Script: Calls for SAMANTHA to be washing dishes when ENDORA appears. ENDORA zaps the dishes clean. SAMANTHA comments she wants to do things her way and zaps the dishes dirty again. There follows a conversation between SAMANTHA and ENDORA about the problems with AUNT CLARA.
• Episode: This is cut and the Teaser starts with ENDORA already present and the conversation about AUNT CLARA underway.
  
  
• Script: After SAMANTHA'S second, "That's bad", the script continues with the discussion about CLARA and the fact that her spells do not work anymore, that SAMANTHA is the only one she will listen to, and the point that she needs someone to look after her.
• Episode: This section of the scene is cut after the second "That's bad", and the action jumps immediately to AUNT CLARA trying to walk through a wall.

END OF TEASER

ACT I

Stephens' Living Room:

• Script: The script calls for SAMANTHA to offer to get AUNT CLARA some coffee, but CLARA says she will do it herself. CLARA uses a spell to produce the coffee: Hemlock, henbane, adder's tongue. Night shade, moonwort,--- [ at this point CLARA gets stuck. ENDORA tells her the next word is "Leppardsbane". CLARA tries it but says "leppardsbean" instead]. A pile of coffee beans appear on the table. ENDORA makes a sign and a silver coffee service appears.
• Episode: The scene is cut and begins with the coffee service in place and SAMANTHA saying "Who is he---". The remainder of the scene follows the script.

Darrin's Office:

• Script: There is a long conversation between DARRIN and SAMANTHA about bringing AUNT CLARA and MR. PARTRIDGE together. This includes SAMANTHA wanting to use her witchcraft to assist CLARA, without her knowing it, on the grounds that CLARA would be embarrassed if anyone knew she was slipping. DARRIN is doubtful if this will work.
• Episode: This scene is cut entirely.

Stephens' Living Room:

• Script: HEDLEY: [to DARRIN] Of course you wouldn't know. There was always something different about CLARA.
• Episode: Between these two lines is added, "You are a little young".
  
  
• Script: SAMANTHA asks DARRIN to call her if anyone needs help. DARRIN acts confused, but finally figures it out.
• Episode: This part is confusing. If the original scene in DARRIN'S office [above] had been left in, it would have explained what SAMANTHA meant, and DARRIN's reaction.
  
  
• Script: HEDLEY: You see, my powers are better than ever. CLARA: Uh . . .Remarkable
• Episode: HEDLEY: You see, my powers are as good as ever. CLARA: Uh . . .Remarkable. At this point the episode adds HEDLEY'S lines about witchcraft being a gift through CLARA's line of "It happens to all of us", and HEDLEY's Line, "Yes, yes, I know".
  
  
• Script: Just before HEDLEY produces a cigar, he has the line "Yes . . .it's sad when it happens.
• Episode: The line about "Does anyone mind if I smoke a cigar?" is added.
  
  
• Script: HEDLEY asks CLARA to light his cigar. Clara tries to move the lighter. It does not move until the second try, when it moves a little.
• Episode: The lighter does not move at all until SAMANTHA twitches.
  
  
• Script: CLARA'S spell to turn she and HEDLEY into nightingales is given as: The nightingale, the popinjay, the gentle laverock . . . Holly he hath birds a full fair flock
• Episode: The spell used is: Deacus, Gurney, Fantus.
  
  
• Script: The script calls for HEDLEY to turn into an ELEPHANT.
• Episode: This time the script and episode agree on Elephant.
  
  
• Script: As GLADYS looks in the window, CLARA is making futile gestures at the KANGEROO.
• Episode: It is a baby elephant.

Kravitz's Living Room:

• Script: Gladys tells ABNER she has seen a KANGEROO, and wants him to come with her to the STEPHENS'.
• Episode: This scene is cut.

Stephens' Living Room.

This time the script again says ELEPHANT when referring to who and what are in the room.

• Script: CLARA remembers the spell correctly: Her magicke much availing -- Not one tittle fraying.
• Episode: The spell used is: Beacus, Gurnry, Flancus
  
  
• Script: SAMANTHA: AUNT CLARA is a . . . student of Elizabethan English. That means "bless your face" in . . .uh . . .Olde English.
• Episode: SAMANTHA: AUNT CLARA is a linguist. That means "Bless your face" in Mayalan.
  
  
• Script: SAMANTHA leads the KANGEROO out.
• Episode: She leads the Elephant out.

Stephens' Kitchen:

• Script: SAMANTHA speaks to the KANGEROO.
• Episode: She speaks to the Elephant.
  
  
• Script: The spell to turn HEDLEY back to human is given as: Her magicke much availing . . . Not in one tittle fayling.
• Episode: The Spell used is: Venbe, Wallabus, Nerk.
  
  
• Script: The KANGEROO becomes HEDLEY.
• Episode: The Elephant becomes HEDLEY.

Stephens' Living Room:

• Script: CLARA tries to walk through the wall. Darrin has the line, "CLARA is rather nearsighted".
• Episode: Before DARRIN'S line, HEDLEY has added to his lines the line about CLARA remembering Serenda Etherington
  
  
• Script: After SAMANTHA and DARRIN leave for the kitchen HEDLEY admits he has not performed real witchcraft for years.
• Episode: The line for CLARA is added about SAMANTHA doing all of her tricks. HEDLEY has the line about "Paddling the same canoe" added to his lines.
  
  
• Script: CLARA apologizes for turning HEDLEY into a KANGEROO
• Episode: Elephant replaces KANGEROO.

TRAILER

Stephens' Entry:

• Script: ENDORA pops in and wants to know where HEDLEY is, and is upset that SAMANTHA let him get away when she finds out he has left.
• Episode: This scene is cut.

Stephens' Living Room:

• Script: CLARA says that HEDLEY is not the sort of man to be tied down.
• Episode: This line is replaced with the line about "Taking me dancing".

# 49, My Boss the Teddy Bear

TEASER

Stephens’ Kitchen:

• Script and Episode agree.

ACT I

Toy Store:

• Script: Endora tells Larry she would like to take Darrin and Samantha to a special family function.
• Episode: She tells Larry she would like to take Samantha and her husband to a special family function.
  
  
• Script: Larry shows Endora a picture of his son with the teddy bear he is trying to replace.
  ENDORA: Oh, he has lovely brown eyes - - -
  LARRY: No! That’s the teddy bear. - - - My son’s on the left.
  ENDORA: Oh, of course.
• Episode: The above lines are cut.

Darrin’s Office:

• Script: Darrin calls the receptionist on the intercom and asks her to bring in the market research figures for the honey account. We hear the receptionist’s voice reply, “Right away, Mr. Stephens”.
• Episode: This scene is cut.
  
  
• Script: The above scene continues with the receptionist bringing the charts into Darrin’s office and carrying the teddy bear. Darrin is interested in the teddy bear and wants to know where it came from. The receptionist replies that Endora brought it to be sent to Mrs. Tate. This conversation continues to the point where Darrin asks to have a few minutes with the teddy bear at which point the receptionist leaves the office.
• Episode: Darrin does not call the receptionist [Betty], but goes out to her office to ask for the charts for the Harper account. There he sees the teddy bear. The conversation is identical to the script, except it takes place in Betty’s office. [the script always says “receptionist”, the episode always says “Betty”] After Darrin’s line about having a few minutes with the teddy bear, he returns to his office.
  
  
• Script:
  DARRIN: Give me a sign, Lar. Another nod? [the receptionist enters, unnoticed by Darrin] Okay, a wink! Anything to let me know I’m getting through - - -[notices her out of the corner of his eye] What is it, Betty?
  RECEPTIONIST: [has he flipped?] Uh - - -Mr. Harper - -and Mr. Bertram of the Harper honey account are waiting, Mr. Stephens.
  DARRIN: Tell them I’m - - -I’m in conference!!!
  RECEPTIONIST: [looks at bear] In - - - -in a conference???
  DARRIN: Just tell them to wait!
  RECEPTIONIST: Certainly Mr. Stephens . . .certainly. In a conference.
• Episode: The above scene is cut.

Darrin’s Office/ Stephens’ Living Room: [intercut on phone conversation]

• Script: Darrin asks Samantha what to do. He knows nothing about taking care of a bear. Samantha does not understand what this is all about. Darrin wants to know what they eat?
• Episode: These lines, to just before Samantha’s line about keeping him warm and let him know you care, are cut.

Darrin’s Office:

• Script: Harper, Bertram, and the model, Diane have entered. Darrin introduces Diane as the model for the product .
  DIANE [with her best smile] We met outside.
• Episode:
  HARPER: [with his best smile] We met outside.
  DIANE: Yes, we certainly did.
  
  
• Script: At Harper’s insistence, Darrin hands the teddy bear to Diane, who clasps “Larry” to her rather ample bosom [Note: This is the exact wording as is in the script]. Darrin stares at “Larry” and his soft pillow.
  DARRIN: [to Diane} I…uh… wouldn’t do that if I were you.
  DIANE: Why?