♪
Folks, I'd like to have you meet
some guests I have here tonight
who are going to play
something new in drawing,
something that you at home
can also participate along with us.
I'd like to have you meet
a young man who is one of the tops
in monologues, Jonathan Winters.
Hello, John.
Hi, Phil, how are you today?
And next to John is a very charming
and beautiful woman
who hails from Europe
and a very terrific
dress designer, Erica.
Hello, Erica.
And sitting next to Erica
is a young man who has his own TV show.
I'd like to have you meet Jeff Kane.
Hi, Phil.
And next to Jeff is his old sidekick, Mark.
Ha ha ha!
Pretty good.
I'm going to get a young sidekick.
Now I've got a little surprise
for you all.
I'm going to introduce now
a very terrific painter.
My next door neighbor,
here's an example
of some of his works.
This young chap is a terrific
portrait artist,
a very fine painter,
an etcher, a watercolorist.
I want you to meet my next door
neighbor, Ray White.
Hi, Cliff.
Hi, Ray.
Well, this is what we're going to do.
Ray is going to compose a drawing
in ten lines.
He's going to draw
each line separately.
They are so simple
that a child can copy them.
Now here's the gimmick.
Ray will draw one line
and show it to you, Marge.
You have exactly about
five seconds to copy it.
After you've done that,
you show what you have done
to Jeff.
And Jeff, you have five seconds
to copy Marge's line,
and you in turn, turn around
and show your copied version
to Erica, and Erica,
you show your copied line
to Jonathan Loman in a totem pole.
Now after that is done,
Ray will start his second line,
and you'll do likewise.
In other words,
you will copy from your left
and show to your right.
And let's not cheat,
I mean, don't look beyond the left
of the person sitting next to you.
Are you all set, Ray?
All set.
Let's go.
All right, we'll start out here
with a mushroom, perhaps.
That'll be very simple.
Oh, isn't that cute already,
with an old mushroomy hat.
There we go.
Jeffrey?
That's what my wife says.
Whoops! Wow, that is a nice star.
Here, try this.
Oh, I have enough.
Oh, prepared, all right.
Indeed.
How's my old sideburn?
Getting older, looking at that.
There you go.
Erica?
That looks like my wife.
Ha ha ha ha!
Jonathan, have you finished
at the end of that first line?
Now, Ray, let's take it easy now
and do the next one.
Let's not make it complicated.
Are you all set, Ray?
All right.
Oh, what do you know?
Look at that head hair.
Oh, good, that's not very
complicated, is it?
Mm-hmm.
All right, anybody you know?
It's our agent.
It's our agent.
Sure, that's who that is.
That's cute.
See?
Uh-huh.
It's a wonder we're working here.
He's a smiley, isn't he?
Let's stay on the paper now, fellas.
Oh, yeah.
All right.
Oh, no, that's a little bit too long.
Is that your agent?
Yeah.
Ha ha ha ha!
How about you?
You've done very well so far.
Ha ha ha ha!
Ah, yeah.
Let's get going now.
Mrs. Sight.
You all through, Jonathan?
Yeah.
Ray, let's think up the next line
and are you ready to put it in?
All set, sir.
OK, let's go that way.
Hush, my dear servant.
All right, that's it.
Ah, here, down, fine.
Twizzle through here and there.
All right, Jack.
I see.
Ha ha ha ha!
Yes.
Ha ha ha!
This is my agent with his nose.
Now that's free hand, free art.
Free art?
That's not too complicated.
No.
Yeah.
All right.
All right.
Like climbing up Mount Everest, Jack.
Ha ha ha!
More like a naval match.
Ha ha ha!
Have you worked at art very long?
Yes.
I thought so.
I've been my son for 20 years.
20 years.
You through with that line, Jonathan?
Let's see, Ray.
The fourth line is coming up.
All right.
Don't make it too intricate, Travis.
You know.
OK, we'll start at the bottom this time.
And again, you want two fingers.
All right.
Start at the bottom this time.
Up, down, up.
Give him a few fingers.
Listen, stop cheating now, Jeff.
Well, I wasn't cheating.
Yeah, well, all right.
You just copy, just copy mine.
That's all.
These are very thick glasses.
I can't see very far anyway.
Just copy mine.
All right.
All right.
There you are.
Two fingers.
Right.
Ha ha ha!
Whatever that is, yes, all right.
OK.
Where do you start?
I'll start at the bottom.
Your guess is as good as mine.
You say you've worked with Arnold, huh?
Yeah.
How is he?
Ha ha ha!
Oh!
Ah, this is charming.
Looks pretty good from here.
It's any of your power.
OK, are we ready for the next one?
Definitely.
Raymond, let's see.
Let's think this one out, and let's do it, you know,
pretty, uh.
With Bob?
Yeah.
Make it a long one, then, if you're going to think it out.
Oh, isn't that cute with Bob?
All right.
Here we are with the doodly-doos.
Up, over, down, there, toes, up, down, back.
All right.
Got it.
Where did you buy his shoes?
Ha ha ha!
Wow.
Is that ever a need, huh?
Yep.
It's got ice water on them.
Up, up, down, and up, huh?
OK.
I guess that's it, huh?
Erica, good luck.
I'm going to need it.
Ha ha ha!
Yours is definitely early Egyptian, right?
Yeah.
Mm-hmm.
Now mine's turning into Sanskrit.
You better get ready for that next line, Ray.
How long does it take before you complete the whole thing?
Any idea?
About 10 lines.
About 10 lines?
How many lines have you done so far?
About five.
Let's speed it up, you know.
This is a...
All righty-roo, into here, back, up, down, doodly-doo here, there, and we are half.
All righty-roo, anymore, anymore, no meaner one.
Whatever that is.
Right in there.
I see, yes.
You get the feeling of it with the free heart.
I see.
Ha ha ha!
Whatever it is, it lost me.
You lost it down here.
Oh, forgive me.
Pardon me, I'm sorry, but the...
Did it come back?
He zinks down there.
I see.
There you go, Erica.
I didn't watch.
What about it?
I didn't watch either.
Erica?
Down there, that's it.
Up and around.
Around?
Ha ha ha!
OK.
Oh, let's see, this is just a little bit confusing out here.
I see.
I see.
Very simple.
OK, are you ready for the next one?
OK, we'll make this one...
I'll give us one.
Make it two down here.
All right.
All right?
Fine, whatever you say, I'm with you.
Make it two in there, two there, and she doodly-doos out here.
All right, Jack?
Jessica and Mary moved into a new apartment, this looks like a living room right about now.
Looks like the house plan.
I don't know where we go, what...
You look very Rembrandt.
Down here with this and here.
Something happened up here.
That's right, I don't know if that's it, but put it in.
Looks like the map of a farm in the country, doesn't it?
I don't know where to start.
Just put it in, that's the main thing.
Ha ha ha!
I think you're sitting under a grandma motion.
Very good.
Directly under.
Are we all set for the next line?
Just the last line?
Just the last one?
We'll make it the last one.
Yeah, make it the last one, right?
Let's see what happens on this thing.
Right over here.
There.
There.
Oh, that's what it is.
All right, here with that here.
And up here.
Where's the top?
Right there?
All right, fine.
Thank you.
Huh?
Are you sure, Dali?
Ha ha ha!
Are you sure he started like that?
I think he looked like Mel Powell a little on the left.
Right there.
Right.
It's a great piano if it is Mel Powell.
Here.
Great artist, concentrate.
Oh, I forgot to point you, the saw.
Oh, that's a saw.
All right.
I'm going to start with this one.
Yours is a little more like William Powell.
I don't know why.
Here we go.
It's fine.
Oh, boy.
This is more fun than the other one.
Okay, is that the last line?
That's the last line.
All right, look.
Before you tighten your pictures, I've got a little surprise for you.
Back to Cliff Saber, whose visual treat, Miss Havercroft, is still there.
Cliff?
Laurie, are you ready to exhibit the drawings that the panel has done?
Here I am, and I've taken a peek at these, and they are funny.
Really?
Wonderful.
This I've got to see.
And number one, Margaret Drain White.
Number one.
Oh, that's what it was.
Number two.
Oh, look at it.
Number three.
Ha ha ha!
Erica White and Jonathan Winters.
Shall we read off the titles?
Yes.
Ray says, I don't care what kids eat.
And Marge says, what have I done?
And Jeff says, you've got a honey-foot wife.
Where did you get that or that?
And Erica says, who that?
And Jonathan Winters says, oh, no, your mother isn't coming to stay with us again.
Where did you get that title, bud?
My mother's been staying with us.
What do you think of the drawings from the original?
I think they're pretty good.
Kind of deviated there towards the end.
Towards the end.
Ha ha ha!
I thought yours was unusual.
Which one is yours, Jeff?
Number three?
Number three is mine.
You get plenty of hot water.
What were you, stuck in a hotel room one time?
Somehow, rather, it began to look like a doctor to me.
It began to look like every doctor.
That's the line from the films, you know, whenever a doctor runs into the room, he always says, get plenty of hot water.
Where's Marge?
Marge is here.
Marge is here.
Eek!
Mine looks like a hunter, and that looks like a deer that he just shot, and he's hanging it up.
And you were sitting right next to the hunter.
That's right.
Ghosts and stuff.
Did you ever go to Commander Whitehead?
Ha ha ha!
I just wondered.
Well, look, so why don't we get back to the chair.
Folks, now that you've watched us play this game, if you'd like to join us,
why don't you get paper and pencil, and as a matter of fact, we'll wait for you while you do so.
In the meantime, Mal Powell will give us a selection of tunes which I think you've heard in the past.
Okay, Mal.
Here we go.
That was wonderful, Mal.
That was really terrific.
Listen, folks, I hope you have your paper and pencil.
Now, here's what you do.
Have Papa, and have Papa sit in front of the TV screen looking at the drawings,
and all of you sit side by side next to him with your paper and pencils at hand,
as we did on the panel a few minutes ago.
Now, Papa, you copy from Ray White, you see, and draw the first line and show it to Junior sitting on your right,
and he in turn shows what he's copied from you to whomever is sitting on his right.
In other words, copy from your left and show to your right, as we did.
And when the drawings are completed, we'll have an exhibition, and maybe you two will join us on the second exhibition.
Incidentally, Laurie, I think the next game was submitted by Jonathan Winters, am I right?
You're right.
Well, John, I understand that you will receive a $50 Wal-Mart prize for the idea.
Good.
And I want to thank you, incidentally, John, for not taking the money and donating it to your favorite charity.
Well, Ray, are we ready for the next game?
All set for the next game.
All set? Let's go on Jonathan's drawing.
All right, here, start with the bread line.
All right, we start with the bread line, and we zing a boo, and a whoop, got it?
Except for the sound effects.
There we are.
Got it?
Yes, here we are again.
That was very good.
Are you ready for the second one, Ray?
Let's go.
That was a beautiful sound effect.
All right.
There we are.
All right.
Free form.
Free form.
You don't have to pay for this, I know that.
Erica?
What's it say about my nose? It looks like a nose or something.
This may mean I'll have to go back to finger painting.
I don't know.
Finger printing, I think.
Finger printing.
Oh, no, I wouldn't want to try that. Not this year.
Are you all set for the second one?
All set for this one.
Good.
I'll start with this.
Give him a face this time, with all the compliments.
All right, give him a face.
Here and here and here.
Jeff?
It's like the boy I heard about.
Talking pictures.
You can get some of his noises here.
Good thing you don't play piano.
Concentrate more, Jeff.
There we go.
You didn't get with the nose, all right.
Well, I'm sorry.
You were trying without the nose.
Okay.
I drew what I saw, Marge.
All right, let's leave it at that.
Say, it looks like Joe DiMaggio.
Yeah.
Funny, I thought it looked like Marilyn Monroe.
Oh, well.
To each his own.
These are mine.
Let's go. Are we ready for the next one?
Why don't we do a real quickie?
You know, a zing.
Go right down that line.
All the way down?
Yeah, like a bunny.
That's fantastic, but let's not overdo it, Ray.
You'll get them confused.
Oh, here we are.
That's very simple.
Here and...
I'm going to go off the page.
All right, Jeff, it's all yours.
All mine?
Whatever it is, it's all mine.
Down, around, around here.
It's an abstract.
Down, down, down, up and over.
Look at one of your map makers.
Ebba?
Ebba the map maker.
It's beginning to bloom, isn't it?
There's a lot of possibilities.
She's got too big a glove to play second base.
Funny thing, you know, my drawing reminds me of a time when I was on a train and in a bad wreck.
Really shaken up.
You've almost run me off here.
Remember, time isn't drawing.
Well, that's the next one.
How many more lines have we got?
About three more.
About three more?
Well, let's start it.
Okay.
Take it easy.
Here we are, and he runs into that part.
Where?
Just come down.
Oh, just come down and give him a little tiny foot?
There we are.
All right, Jack.
This drawing reminds me of the time Jonathan was in a train wreck.
But it's an expression of yourself.
This is an expression of myself?
That's an expression, I better watch my language.
What else?
That's just a boot, and that's it, I think, because that is a boot.
Funny.
I thought my writer was writing for me, I guess he's writing for Jack and me, too.
Well, are we ready for the next line?
I, uh...
Have you ever exhibited any of these?
Well, we're going to have an exhibition very shortly.
Have you ever been exhibited?
Huh?
Uh-huh, uh-huh, okay.
And the thing there, don't forget the wart.
And then there, and a little smiley, smiley.
And down like this.
This reminds me of the time I was in a train wreck with Jonathan and his writer.
Make a face out of the glove.
Out of the glove?
I don't know.
Did you design a glove like that?
No.
It's a little hot today, isn't it, Jerry?
I'm so glad that made you.
I didn't get you.
Listen, what line are we going to go on to now?
That's the right line.
I think we'll make it in two more lines.
Two more lines?
Are you ready for the next line?
Ready for the next one.
Let's go.
One there, one there.
And we'll come up here.
All right, one there, and we come up there, and we go, hmm, right there.
And, um, where?
Oh, and he's, there, have you got that?
I think so, yes.
Uh-huh.
Uh-huh.
This fella has not been well.
That's cute.
Obviously.
I don't know, you lost me, Marge, at the last turn, huh?
Sure was hiding in the glove.
All right.
Starting to look like Montalvo Day today on a bad day.
I'm just getting lines.
Stop that, don't do it anymore.
Are you all finished with that one?
Now, let's see, the next one is the last one coming up.
This is the last two.
One here, one here.
I'm sorry, three.
Well, you're just adding some, uh.
Extra little.
Yeah, a thingamajig.
All right.
That's it.
Just to get a class, you know.
Thingamajig, I'm giving you class now.
No rising back?
All right.
You can put a belt in.
Oh, there's a belt?
All right, I'll put a belt in.
There you go, Erica.
What is that, a small page?
I can't fit the package in.
This guy needs a belt in the mouth.
All we have are face.
I think you're all through, huh?
While I'm titling your pictures here at the panel, and you at home are titling your drawings.
Now, we'll pass the line back to Mr. Sabin.
Okay, if I want Laurie to go over and pick up the drawings that the panel did,
and so that we can compare them with those of the home viewers.
Incidentally, you people at home, uh, I would suggest tacking up your pictures next to the set,
or in this case, like these people have done.
They took Scotch tape and attached their drawings to the TV set, comparing their drawings along with us.
I, uh, trust that your luck has been better than what the folks here have done on the panel.
There they are.
Oh, Ray White said,
Oh, okay, Cutforth, the base is unloaded.
Turn around, go out, go out and get hit.
And Mark says,
Do really take it.
And Jeff says,
Boy, was that a drainwreck.
And Erica White says,
This is a love.
And Tomkey says,
This game may be called on account of you, Tommy Ray.
Let me say we give a five to somebody on the panel.
I mean, uh, uh, who would you say?
Well, I like Jonathan's color design.
You do?
The mobile there.
Thank you.
I like Erica's that has the shade of Picasso in it.
I like mine too.
I like Jonathan's.
I like the idea of the whole baseball motif.
I think Jeff shows signs of talent.
In what?
Well, he must. He's got a shirt.
Not that I have.
I sure like the title, though.
Well, shall we get back to the drawing board?
Yes.
Well, folks.
I hope you enjoyed playing past the line with us tonight.
I want to thank you, Jonathan, for coming in.
It's a pleasure.
And Erica, it was sweet of you to come across the hall
and show us your dress and also play the game with us.
Jeff, I'll see you on TV.
I hope so.
And as for you, Ma, I don't let them get you down.
I won't. It was fun, Cliff.
And Ray, it was very nice of you to lead the gang in this drawing.
We'll see you again.
Back for a drink.
Right.
Now, folks, you at home, you can submit ideas to us or drawings.
And the ones that we choose, we will give a $50 wall bond
or a savings bond, rather.
You can write in care of this, in care of Cliff Saber,
in care of this network.
And I just want to say thank you for dropping in
and past the line of goodwill to all your neighbors.
Can you say goodnight to the folks?
Maury?
Goodnight, Cliff.
Say goodnight to the folks.
Goodnight, everybody.
Created and produced by Cliff Saber.
Music by Mal Paul.
Senior Technician John Giordano.
Technical Directors Uptown Tom Babcock.
Downtown Paul Connolly.
Audio by Bill Waglem.
Directed by Harry Coyle.
Past the Line is a Cliff Saber production.
I'd like to see you back here for a second.
I have here a little booklet which represents the artist.
This is, each page of this booklet acts as Ray White.
For instance, each page represents a line of a ten-line drawing.
Here's your first line.
In other words, you get your family sitting side by side.
Papa can start off his first line here
instead of composing a drawing of his own.
Then he flips the page to the second page,
and you have the first line with the second line added to it,
and the third line, and the fourth line, et cetera, et cetera,
until ten lines are drawn and you get a completed drawing such as this.
Now, you can send in your box tops or go to your local dealer
and get these little booklets of the famous artists who appear on Past the Line,
or you can go to your local department store and buy a Past the Line package
which includes three of these booklets, four pads of paper, and four Past the Line pencils.
And now I think John Wingate would like a few words to say concerning this.
The thing you've got to understand about producing, I think, a show like this
and tying it up to your particular client or your client needs
is the incredible, and we use incredible, I think, not superfluously, certainly,
merchandising tie-in which you have.
The merchandising rights can be worked out between you and Mr. Saber,
but here you have a natural and complete home tie-in
because the family can sit before the set, can draw before it.
You've got your pencils. Suppose, for example, you're Colgate.
It's the Colgate Past the Line pencil.
You can sell those, too. You can sell those pencils for ten cents.
If you're a Colgate man, you know how much they cost you to make.
You get a double tie-in, actually a double profit earning from your merchandising tie-in
because you can use that for a profit, and you can also use the insinuation
if you want to take it subtly or if you want to hit them over the head even more than that.
The natural merchandising plus of Past the Line is something that should get your eye
no matter what your product is.
Okay, thanks a lot, John. That was wonderful.
Are you going back uptown now?
Well, Past the Line.
Bye.