WEBVTT 00:00.000 --> 00:06.740 ♪ 00:08.040 --> 00:09.880 Folks, I'd like to have you meet 00:11.040 --> 00:12.380 some guests I have here tonight 00:12.380 --> 00:13.480 who are going to play 00:13.480 --> 00:14.780 something new in drawing, 00:14.780 --> 00:15.740 something that you at home 00:15.740 --> 00:17.620 can also participate along with us. 00:18.180 --> 00:19.680 I'd like to have you meet 00:19.680 --> 00:21.680 a young man who is one of the tops 00:21.680 --> 00:24.260 in monologues, Jonathan Winters. 00:24.260 --> 00:25.060 Hello, John. 00:25.060 --> 00:26.600 Hi, Phil, how are you today? 00:26.600 --> 00:29.320 And next to John is a very charming 00:29.320 --> 00:31.360 and beautiful woman 00:31.360 --> 00:32.300 who hails from Europe 00:32.300 --> 00:34.300 and a very terrific 00:34.300 --> 00:36.040 dress designer, Erica. 00:36.040 --> 00:36.900 Hello, Erica. 00:38.000 --> 00:40.400 And sitting next to Erica 00:40.400 --> 00:43.480 is a young man who has his own TV show. 00:43.480 --> 00:46.020 I'd like to have you meet Jeff Kane. 00:46.020 --> 00:47.520 Hi, Phil. 00:47.520 --> 00:50.620 And next to Jeff is his old sidekick, Mark. 00:50.620 --> 00:53.480 Ha ha ha! 00:53.480 --> 00:54.180 Pretty good. 00:54.180 --> 00:55.320 I'm going to get a young sidekick. 00:55.320 --> 00:56.360 Now I've got a little surprise 00:56.360 --> 00:57.160 for you all. 00:57.160 --> 00:58.460 I'm going to introduce now 00:58.460 --> 01:01.060 a very terrific painter. 01:01.060 --> 01:02.260 My next door neighbor, 01:02.260 --> 01:03.020 here's an example 01:03.020 --> 01:05.340 of some of his works. 01:05.340 --> 01:06.960 This young chap is a terrific 01:06.960 --> 01:08.540 portrait artist, 01:08.540 --> 01:09.900 a very fine painter, 01:09.900 --> 01:12.380 an etcher, a watercolorist. 01:12.380 --> 01:13.600 I want you to meet my next door 01:13.600 --> 01:14.700 neighbor, Ray White. 01:14.700 --> 01:15.340 Hi, Cliff. 01:15.340 --> 01:16.580 Hi, Ray. 01:16.580 --> 01:18.620 Well, this is what we're going to do. 01:18.620 --> 01:20.220 Ray is going to compose a drawing 01:20.220 --> 01:22.220 in ten lines. 01:22.220 --> 01:23.880 He's going to draw 01:23.880 --> 01:25.260 each line separately. 01:25.260 --> 01:26.920 They are so simple 01:26.920 --> 01:28.420 that a child can copy them. 01:28.420 --> 01:29.320 Now here's the gimmick. 01:29.320 --> 01:30.620 Ray will draw one line 01:30.620 --> 01:32.760 and show it to you, Marge. 01:32.760 --> 01:33.820 You have exactly about 01:33.820 --> 01:35.220 five seconds to copy it. 01:35.220 --> 01:36.300 After you've done that, 01:36.300 --> 01:37.660 you show what you have done 01:37.660 --> 01:38.660 to Jeff. 01:38.660 --> 01:40.000 And Jeff, you have five seconds 01:40.000 --> 01:41.360 to copy Marge's line, 01:41.360 --> 01:42.740 and you in turn, turn around 01:42.740 --> 01:43.900 and show your copied version 01:43.900 --> 01:45.400 to Erica, and Erica, 01:45.400 --> 01:46.580 you show your copied line 01:46.580 --> 01:49.500 to Jonathan Loman in a totem pole. 01:49.500 --> 01:50.740 Now after that is done, 01:50.740 --> 01:52.120 Ray will start his second line, 01:52.120 --> 01:53.140 and you'll do likewise. 01:53.140 --> 01:54.080 In other words, 01:54.080 --> 01:56.380 you will copy from your left 01:56.380 --> 01:58.420 and show to your right. 01:58.420 --> 01:59.280 And let's not cheat, 01:59.280 --> 02:00.820 I mean, don't look beyond the left 02:00.820 --> 02:02.660 of the person sitting next to you. 02:02.660 --> 02:03.660 Are you all set, Ray? 02:03.660 --> 02:04.260 All set. 02:04.260 --> 02:05.060 Let's go. 02:05.060 --> 02:06.260 All right, we'll start out here 02:06.260 --> 02:08.260 with a mushroom, perhaps. 02:11.500 --> 02:12.260 That'll be very simple. 02:12.260 --> 02:13.560 Oh, isn't that cute already, 02:13.560 --> 02:15.360 with an old mushroomy hat. 02:15.360 --> 02:16.860 There we go. 02:16.860 --> 02:18.400 Jeffrey? 02:18.400 --> 02:21.400 That's what my wife says. 02:21.400 --> 02:22.900 Whoops! Wow, that is a nice star. 02:22.900 --> 02:23.940 Here, try this. 02:23.940 --> 02:24.680 Oh, I have enough. 02:24.680 --> 02:26.380 Oh, prepared, all right. 02:26.380 --> 02:28.580 Indeed. 02:28.580 --> 02:30.720 How's my old sideburn? 02:30.720 --> 02:31.980 Getting older, looking at that. 02:31.980 --> 02:33.520 There you go. 02:33.520 --> 02:34.820 Erica? 02:39.820 --> 02:41.020 That looks like my wife. 02:41.020 --> 02:44.820 Ha ha ha ha! 02:44.820 --> 02:45.660 Jonathan, have you finished 02:45.660 --> 02:46.900 at the end of that first line? 02:46.900 --> 02:48.800 Now, Ray, let's take it easy now 02:48.800 --> 02:49.700 and do the next one. 02:49.700 --> 02:50.840 Let's not make it complicated. 02:50.840 --> 02:51.560 Are you all set, Ray? 02:51.560 --> 02:56.540 All right. 02:56.540 --> 02:57.840 Oh, what do you know? 02:57.840 --> 02:58.840 Look at that head hair. 02:58.840 --> 02:59.840 Oh, good, that's not very 02:59.840 --> 03:02.340 complicated, is it? 03:02.340 --> 03:08.340 Mm-hmm. 03:08.340 --> 03:09.660 All right, anybody you know? 03:09.660 --> 03:10.760 It's our agent. 03:10.760 --> 03:12.760 It's our agent. 03:12.760 --> 03:13.760 Sure, that's who that is. 03:13.760 --> 03:15.660 That's cute. 03:15.660 --> 03:16.160 See? 03:16.160 --> 03:17.060 Uh-huh. 03:17.060 --> 03:18.060 It's a wonder we're working here. 03:18.060 --> 03:20.060 He's a smiley, isn't he? 03:20.060 --> 03:22.060 Let's stay on the paper now, fellas. 03:22.060 --> 03:24.060 Oh, yeah. 03:24.060 --> 03:26.560 All right. 03:26.560 --> 03:28.540 Oh, no, that's a little bit too long. 03:28.540 --> 03:29.540 Is that your agent? 03:29.540 --> 03:30.040 Yeah. 03:30.040 --> 03:34.540 Ha ha ha ha! 03:34.540 --> 03:35.340 How about you? 03:35.340 --> 03:36.540 You've done very well so far. 03:36.540 --> 03:38.040 Ha ha ha ha! 03:38.040 --> 03:39.040 Ah, yeah. 03:39.040 --> 03:41.920 Let's get going now. 03:41.920 --> 03:42.920 Mrs. Sight. 03:42.920 --> 03:44.120 You all through, Jonathan? 03:44.120 --> 03:44.620 Yeah. 03:44.620 --> 03:46.960 Ray, let's think up the next line 03:46.960 --> 03:48.260 and are you ready to put it in? 03:48.260 --> 03:48.920 All set, sir. 03:48.920 --> 03:52.920 OK, let's go that way. 03:52.920 --> 03:57.420 Hush, my dear servant. 03:57.420 --> 03:58.920 All right, that's it. 03:58.920 --> 04:01.920 Ah, here, down, fine. 04:01.920 --> 04:03.920 Twizzle through here and there. 04:03.920 --> 04:05.420 All right, Jack. 04:05.420 --> 04:05.920 I see. 04:05.920 --> 04:07.420 Ha ha ha ha! 04:07.420 --> 04:07.920 Yes. 04:07.920 --> 04:09.920 Ha ha ha! 04:09.920 --> 04:12.920 This is my agent with his nose. 04:12.920 --> 04:14.920 Now that's free hand, free art. 04:14.920 --> 04:15.420 Free art? 04:15.420 --> 04:16.420 That's not too complicated. 04:16.420 --> 04:16.920 No. 04:16.920 --> 04:17.920 Yeah. 04:17.920 --> 04:19.920 All right. 04:19.920 --> 04:20.920 All right. 04:25.920 --> 04:28.420 Like climbing up Mount Everest, Jack. 04:28.420 --> 04:30.920 Ha ha ha! 04:30.920 --> 04:31.920 More like a naval match. 04:31.920 --> 04:33.920 Ha ha ha! 04:33.920 --> 04:35.420 Have you worked at art very long? 04:35.420 --> 04:36.420 Yes. 04:36.420 --> 04:37.420 I thought so. 04:37.420 --> 04:38.920 I've been my son for 20 years. 04:38.920 --> 04:39.420 20 years. 04:39.420 --> 04:40.920 You through with that line, Jonathan? 04:40.920 --> 04:41.920 Let's see, Ray. 04:41.920 --> 04:42.920 The fourth line is coming up. 04:42.920 --> 04:43.920 All right. 04:43.920 --> 04:45.420 Don't make it too intricate, Travis. 04:45.420 --> 04:46.420 You know. 04:46.420 --> 04:48.920 OK, we'll start at the bottom this time. 04:48.920 --> 04:51.920 And again, you want two fingers. 04:51.920 --> 04:53.420 All right. 04:53.420 --> 04:54.920 Start at the bottom this time. 04:54.920 --> 04:56.920 Up, down, up. 04:56.920 --> 04:57.920 Give him a few fingers. 04:57.920 --> 04:59.920 Listen, stop cheating now, Jeff. 04:59.920 --> 05:01.420 Well, I wasn't cheating. 05:01.420 --> 05:02.420 Yeah, well, all right. 05:02.420 --> 05:03.920 You just copy, just copy mine. 05:03.920 --> 05:04.420 That's all. 05:04.420 --> 05:05.420 These are very thick glasses. 05:05.420 --> 05:06.420 I can't see very far anyway. 05:06.420 --> 05:07.420 Just copy mine. 05:07.420 --> 05:07.920 All right. 05:07.920 --> 05:08.420 All right. 05:08.420 --> 05:09.920 There you are. 05:09.920 --> 05:10.420 Two fingers. 05:10.420 --> 05:10.920 Right. 05:10.920 --> 05:13.420 Ha ha ha! 05:13.420 --> 05:16.420 Whatever that is, yes, all right. 05:16.420 --> 05:17.420 OK. 05:17.420 --> 05:18.920 Where do you start? 05:18.920 --> 05:19.920 I'll start at the bottom. 05:19.920 --> 05:21.920 Your guess is as good as mine. 05:21.920 --> 05:23.420 You say you've worked with Arnold, huh? 05:23.420 --> 05:23.920 Yeah. 05:23.920 --> 05:24.920 How is he? 05:24.920 --> 05:25.920 Ha ha ha! 05:25.920 --> 05:27.420 Oh! 05:27.420 --> 05:30.420 Ah, this is charming. 05:30.420 --> 05:31.420 Looks pretty good from here. 05:31.420 --> 05:32.420 It's any of your power. 05:32.420 --> 05:34.420 OK, are we ready for the next one? 05:34.420 --> 05:35.420 Definitely. 05:35.420 --> 05:36.420 Raymond, let's see. 05:36.420 --> 05:38.420 Let's think this one out, and let's do it, you know, 05:38.420 --> 05:39.920 pretty, uh. 05:39.920 --> 05:40.420 With Bob? 05:40.420 --> 05:47.420 Yeah. 05:47.420 --> 05:52.420 Make it a long one, then, if you're going to think it out. 05:52.420 --> 05:54.420 Oh, isn't that cute with Bob? 05:54.420 --> 05:55.420 All right. 05:55.420 --> 05:57.420 Here we are with the doodly-doos. 05:57.420 --> 06:02.420 Up, over, down, there, toes, up, down, back. 06:02.420 --> 06:03.420 All right. 06:03.420 --> 06:04.420 Got it. 06:04.420 --> 06:05.420 Where did you buy his shoes? 06:05.420 --> 06:06.920 Ha ha ha! 06:06.920 --> 06:08.420 Wow. 06:08.420 --> 06:09.920 Is that ever a need, huh? 06:09.920 --> 06:11.420 Yep. 06:11.420 --> 06:13.420 It's got ice water on them. 06:13.420 --> 06:18.420 Up, up, down, and up, huh? 06:18.420 --> 06:19.420 OK. 06:19.420 --> 06:20.420 I guess that's it, huh? 06:20.420 --> 06:23.420 Erica, good luck. 06:23.420 --> 06:24.420 I'm going to need it. 06:24.420 --> 06:32.420 Ha ha ha! 06:32.420 --> 06:35.420 Yours is definitely early Egyptian, right? 06:35.420 --> 06:35.920 Yeah. 06:35.920 --> 06:37.420 Mm-hmm. 06:37.420 --> 06:39.920 Now mine's turning into Sanskrit. 06:39.920 --> 06:41.920 You better get ready for that next line, Ray. 06:41.920 --> 06:43.920 How long does it take before you complete the whole thing? 06:43.920 --> 06:44.420 Any idea? 06:44.420 --> 06:45.420 About 10 lines. 06:45.420 --> 06:45.920 About 10 lines? 06:45.920 --> 06:47.420 How many lines have you done so far? 06:47.420 --> 06:50.420 About five. 06:50.420 --> 06:51.420 Let's speed it up, you know. 06:51.420 --> 06:56.420 This is a... 06:56.420 --> 07:03.420 All righty-roo, into here, back, up, down, doodly-doo here, there, and we are half. 07:03.420 --> 07:05.920 All righty-roo, anymore, anymore, no meaner one. 07:05.920 --> 07:07.420 Whatever that is. 07:07.420 --> 07:07.920 Right in there. 07:07.920 --> 07:08.420 I see, yes. 07:08.420 --> 07:10.420 You get the feeling of it with the free heart. 07:10.420 --> 07:12.420 I see. 07:12.420 --> 07:14.420 Ha ha ha! 07:14.420 --> 07:16.920 Whatever it is, it lost me. 07:16.920 --> 07:17.920 You lost it down here. 07:17.920 --> 07:18.420 Oh, forgive me. 07:18.420 --> 07:19.420 Pardon me, I'm sorry, but the... 07:19.420 --> 07:19.920 Did it come back? 07:19.920 --> 07:20.920 He zinks down there. 07:20.920 --> 07:22.920 I see. 07:22.920 --> 07:23.420 There you go, Erica. 07:23.420 --> 07:23.920 I didn't watch. 07:23.920 --> 07:24.920 What about it? 07:24.920 --> 07:25.920 I didn't watch either. 07:25.920 --> 07:27.920 Erica? 07:27.920 --> 07:29.420 Down there, that's it. 07:29.420 --> 07:30.420 Up and around. 07:30.420 --> 07:31.420 Around? 07:31.420 --> 07:32.420 Ha ha ha! 07:32.420 --> 07:33.420 OK. 07:33.420 --> 07:37.420 Oh, let's see, this is just a little bit confusing out here. 07:37.420 --> 07:38.420 I see. 07:38.420 --> 07:39.420 I see. 07:39.420 --> 07:42.420 Very simple. 07:42.420 --> 07:44.420 OK, are you ready for the next one? 07:44.420 --> 07:47.420 OK, we'll make this one... 07:47.420 --> 07:49.420 I'll give us one. 07:49.420 --> 07:50.420 Make it two down here. 07:50.420 --> 07:51.420 All right. 07:51.420 --> 07:52.420 All right? 07:52.420 --> 07:54.420 Fine, whatever you say, I'm with you. 07:54.420 --> 07:59.420 Make it two in there, two there, and she doodly-doos out here. 07:59.420 --> 08:00.420 All right, Jack? 08:00.420 --> 08:04.420 Jessica and Mary moved into a new apartment, this looks like a living room right about now. 08:04.420 --> 08:06.420 Looks like the house plan. 08:06.420 --> 08:08.420 I don't know where we go, what... 08:08.420 --> 08:09.420 You look very Rembrandt. 08:09.420 --> 08:11.420 Down here with this and here. 08:11.420 --> 08:12.420 Something happened up here. 08:12.420 --> 08:14.420 That's right, I don't know if that's it, but put it in. 08:14.420 --> 08:18.420 Looks like the map of a farm in the country, doesn't it? 08:18.420 --> 08:20.420 I don't know where to start. 08:20.420 --> 08:24.420 Just put it in, that's the main thing. 08:24.420 --> 08:27.420 Ha ha ha! 08:27.420 --> 08:30.420 I think you're sitting under a grandma motion. 08:30.420 --> 08:31.420 Very good. 08:31.420 --> 08:34.420 Directly under. 08:34.420 --> 08:35.420 Are we all set for the next line? 08:35.420 --> 08:36.420 Just the last line? 08:36.420 --> 08:37.420 Just the last one? 08:37.420 --> 08:38.420 We'll make it the last one. 08:38.420 --> 08:39.420 Yeah, make it the last one, right? 08:39.420 --> 08:40.420 Let's see what happens on this thing. 08:40.420 --> 08:43.420 Right over here. 08:43.420 --> 08:47.420 There. 08:47.420 --> 08:52.420 There. 08:52.420 --> 08:54.420 Oh, that's what it is. 08:54.420 --> 08:59.420 All right, here with that here. 08:59.420 --> 09:01.420 And up here. 09:01.420 --> 09:02.420 Where's the top? 09:02.420 --> 09:03.420 Right there? 09:03.420 --> 09:04.420 All right, fine. 09:04.420 --> 09:05.420 Thank you. 09:05.420 --> 09:06.420 Huh? 09:06.420 --> 09:07.420 Are you sure, Dali? 09:07.420 --> 09:08.420 Ha ha ha! 09:08.420 --> 09:10.420 Are you sure he started like that? 09:10.420 --> 09:13.420 I think he looked like Mel Powell a little on the left. 09:13.420 --> 09:14.420 Right there. 09:14.420 --> 09:15.420 Right. 09:15.420 --> 09:18.420 It's a great piano if it is Mel Powell. 09:18.420 --> 09:20.420 Here. 09:20.420 --> 09:21.420 Great artist, concentrate. 09:21.420 --> 09:23.420 Oh, I forgot to point you, the saw. 09:23.420 --> 09:24.420 Oh, that's a saw. 09:24.420 --> 09:25.420 All right. 09:25.420 --> 09:30.420 I'm going to start with this one. 09:30.420 --> 09:34.420 Yours is a little more like William Powell. 09:34.420 --> 09:36.420 I don't know why. 09:36.420 --> 09:38.420 Here we go. 09:38.420 --> 09:40.420 It's fine. 09:40.420 --> 09:41.420 Oh, boy. 09:41.420 --> 09:43.420 This is more fun than the other one. 09:43.420 --> 09:44.420 Okay, is that the last line? 09:44.420 --> 09:45.420 That's the last line. 09:45.420 --> 09:47.420 All right, look. 09:47.420 --> 09:51.420 Before you tighten your pictures, I've got a little surprise for you. 09:51.420 --> 09:55.420 Back to Cliff Saber, whose visual treat, Miss Havercroft, is still there. 09:55.420 --> 09:56.420 Cliff? 09:56.420 --> 09:59.420 Laurie, are you ready to exhibit the drawings that the panel has done? 09:59.420 --> 10:02.420 Here I am, and I've taken a peek at these, and they are funny. 10:02.420 --> 10:03.420 Really? 10:03.420 --> 10:05.420 Wonderful. 10:05.420 --> 10:07.420 This I've got to see. 10:07.420 --> 10:10.420 And number one, Margaret Drain White. 10:10.420 --> 10:11.420 Number one. 10:11.420 --> 10:12.420 Oh, that's what it was. 10:12.420 --> 10:13.420 Number two. 10:13.420 --> 10:14.420 Oh, look at it. 10:14.420 --> 10:15.420 Number three. 10:15.420 --> 10:17.420 Ha ha ha! 10:17.420 --> 10:19.420 Erica White and Jonathan Winters. 10:19.420 --> 10:21.420 Shall we read off the titles? 10:21.420 --> 10:22.420 Yes. 10:22.420 --> 10:26.420 Ray says, I don't care what kids eat. 10:26.420 --> 10:29.420 And Marge says, what have I done? 10:29.420 --> 10:32.420 And Jeff says, you've got a honey-foot wife. 10:32.420 --> 10:33.420 Where did you get that or that? 10:33.420 --> 10:35.420 And Erica says, who that? 10:35.420 --> 10:42.420 And Jonathan Winters says, oh, no, your mother isn't coming to stay with us again. 10:42.420 --> 10:44.420 Where did you get that title, bud? 10:44.420 --> 10:48.420 My mother's been staying with us. 10:48.420 --> 10:50.420 What do you think of the drawings from the original? 10:50.420 --> 10:52.420 I think they're pretty good. 10:52.420 --> 10:55.420 Kind of deviated there towards the end. 10:55.420 --> 10:56.420 Towards the end. 10:56.420 --> 10:57.420 Ha ha ha! 10:57.420 --> 11:00.420 I thought yours was unusual. 11:00.420 --> 11:01.420 Which one is yours, Jeff? 11:01.420 --> 11:02.420 Number three? 11:02.420 --> 11:03.420 Number three is mine. 11:03.420 --> 11:04.420 You get plenty of hot water. 11:04.420 --> 11:06.420 What were you, stuck in a hotel room one time? 11:06.420 --> 11:08.420 Somehow, rather, it began to look like a doctor to me. 11:08.420 --> 11:10.420 It began to look like every doctor. 11:10.420 --> 11:15.420 That's the line from the films, you know, whenever a doctor runs into the room, he always says, get plenty of hot water. 11:15.420 --> 11:16.420 Where's Marge? 11:16.420 --> 11:17.420 Marge is here. 11:17.420 --> 11:18.420 Marge is here. 11:18.420 --> 11:19.420 Eek! 11:19.420 --> 11:24.420 Mine looks like a hunter, and that looks like a deer that he just shot, and he's hanging it up. 11:24.420 --> 11:25.420 And you were sitting right next to the hunter. 11:25.420 --> 11:26.420 That's right. 11:26.420 --> 11:27.420 Ghosts and stuff. 11:27.420 --> 11:29.420 Did you ever go to Commander Whitehead? 11:29.420 --> 11:30.420 Ha ha ha! 11:30.420 --> 11:32.420 I just wondered. 11:32.420 --> 11:39.420 Well, look, so why don't we get back to the chair. 11:39.420 --> 11:46.420 Folks, now that you've watched us play this game, if you'd like to join us, 11:46.420 --> 11:50.420 why don't you get paper and pencil, and as a matter of fact, we'll wait for you while you do so. 11:50.420 --> 11:57.420 In the meantime, Mal Powell will give us a selection of tunes which I think you've heard in the past. 11:57.420 --> 12:26.420 Okay, Mal. 12:26.420 --> 12:50.420 Here we go. 12:50.420 --> 13:17.420 That was wonderful, Mal. 13:17.420 --> 13:18.420 That was really terrific. 13:18.420 --> 13:22.420 Listen, folks, I hope you have your paper and pencil. 13:22.420 --> 13:24.420 Now, here's what you do. 13:24.420 --> 13:29.420 Have Papa, and have Papa sit in front of the TV screen looking at the drawings, 13:29.420 --> 13:34.420 and all of you sit side by side next to him with your paper and pencils at hand, 13:34.420 --> 13:36.420 as we did on the panel a few minutes ago. 13:36.420 --> 13:41.420 Now, Papa, you copy from Ray White, you see, and draw the first line and show it to Junior sitting on your right, 13:41.420 --> 13:45.420 and he in turn shows what he's copied from you to whomever is sitting on his right. 13:45.420 --> 13:50.420 In other words, copy from your left and show to your right, as we did. 13:50.420 --> 13:57.420 And when the drawings are completed, we'll have an exhibition, and maybe you two will join us on the second exhibition. 13:57.420 --> 14:02.420 Incidentally, Laurie, I think the next game was submitted by Jonathan Winters, am I right? 14:02.420 --> 14:03.420 You're right. 14:03.420 --> 14:08.420 Well, John, I understand that you will receive a $50 Wal-Mart prize for the idea. 14:08.420 --> 14:11.420 Good. 14:11.420 --> 14:18.420 And I want to thank you, incidentally, John, for not taking the money and donating it to your favorite charity. 14:18.420 --> 14:19.420 Well, Ray, are we ready for the next game? 14:19.420 --> 14:20.420 All set for the next game. 14:20.420 --> 14:22.420 All set? Let's go on Jonathan's drawing. 14:22.420 --> 14:29.420 All right, here, start with the bread line. 14:29.420 --> 14:35.420 All right, we start with the bread line, and we zing a boo, and a whoop, got it? 14:35.420 --> 14:41.420 Except for the sound effects. 14:41.420 --> 14:42.420 There we are. 14:42.420 --> 14:50.420 Got it? 14:50.420 --> 14:57.420 Yes, here we are again. 14:57.420 --> 14:58.420 That was very good. 14:58.420 --> 15:00.420 Are you ready for the second one, Ray? 15:00.420 --> 15:04.420 Let's go. 15:04.420 --> 15:09.420 That was a beautiful sound effect. 15:09.420 --> 15:16.420 All right. 15:16.420 --> 15:18.420 There we are. 15:18.420 --> 15:20.420 All right. 15:20.420 --> 15:21.420 Free form. 15:21.420 --> 15:24.420 Free form. 15:24.420 --> 15:31.420 You don't have to pay for this, I know that. 15:31.420 --> 15:38.420 Erica? 15:38.420 --> 15:41.420 What's it say about my nose? It looks like a nose or something. 15:41.420 --> 15:44.420 This may mean I'll have to go back to finger painting. 15:44.420 --> 15:45.420 I don't know. 15:45.420 --> 15:46.420 Finger printing, I think. 15:46.420 --> 15:47.420 Finger printing. 15:47.420 --> 15:51.420 Oh, no, I wouldn't want to try that. Not this year. 15:51.420 --> 15:52.420 Are you all set for the second one? 15:52.420 --> 15:53.420 All set for this one. 15:53.420 --> 15:54.420 Good. 15:54.420 --> 15:56.420 I'll start with this. 15:56.420 --> 16:01.420 Give him a face this time, with all the compliments. 16:01.420 --> 16:04.420 All right, give him a face. 16:04.420 --> 16:07.420 Here and here and here. 16:07.420 --> 16:08.420 Jeff? 16:08.420 --> 16:09.420 It's like the boy I heard about. 16:09.420 --> 16:10.420 Talking pictures. 16:10.420 --> 16:13.420 You can get some of his noises here. 16:13.420 --> 16:16.420 Good thing you don't play piano. 16:16.420 --> 16:18.420 Concentrate more, Jeff. 16:18.420 --> 16:19.420 There we go. 16:19.420 --> 16:21.420 You didn't get with the nose, all right. 16:21.420 --> 16:22.420 Well, I'm sorry. 16:22.420 --> 16:23.420 You were trying without the nose. 16:23.420 --> 16:25.420 Okay. 16:25.420 --> 16:26.420 I drew what I saw, Marge. 16:26.420 --> 16:29.420 All right, let's leave it at that. 16:29.420 --> 16:30.420 Say, it looks like Joe DiMaggio. 16:30.420 --> 16:31.420 Yeah. 16:31.420 --> 16:35.420 Funny, I thought it looked like Marilyn Monroe. 16:35.420 --> 16:36.420 Oh, well. 16:36.420 --> 16:38.420 To each his own. 16:38.420 --> 16:39.420 These are mine. 16:39.420 --> 16:41.420 Let's go. Are we ready for the next one? 16:41.420 --> 16:44.420 Why don't we do a real quickie? 16:44.420 --> 16:45.420 You know, a zing. 16:45.420 --> 16:46.420 Go right down that line. 16:46.420 --> 16:47.420 All the way down? 16:47.420 --> 16:55.420 Yeah, like a bunny. 16:55.420 --> 16:57.420 That's fantastic, but let's not overdo it, Ray. 16:57.420 --> 16:58.420 You'll get them confused. 16:58.420 --> 16:59.420 Oh, here we are. 16:59.420 --> 17:00.420 That's very simple. 17:00.420 --> 17:03.420 Here and... 17:03.420 --> 17:05.420 I'm going to go off the page. 17:05.420 --> 17:07.420 All right, Jeff, it's all yours. 17:07.420 --> 17:09.420 All mine? 17:09.420 --> 17:10.420 Whatever it is, it's all mine. 17:10.420 --> 17:13.420 Down, around, around here. 17:13.420 --> 17:14.420 It's an abstract. 17:14.420 --> 17:20.420 Down, down, down, up and over. 17:20.420 --> 17:22.420 Look at one of your map makers. 17:22.420 --> 17:23.420 Ebba? 17:23.420 --> 17:27.420 Ebba the map maker. 17:27.420 --> 17:30.420 It's beginning to bloom, isn't it? 17:30.420 --> 17:33.420 There's a lot of possibilities. 17:33.420 --> 17:36.420 She's got too big a glove to play second base. 17:36.420 --> 17:42.420 Funny thing, you know, my drawing reminds me of a time when I was on a train and in a bad wreck. 17:42.420 --> 17:44.420 Really shaken up. 17:44.420 --> 17:45.420 You've almost run me off here. 17:45.420 --> 17:47.420 Remember, time isn't drawing. 17:47.420 --> 17:48.420 Well, that's the next one. 17:48.420 --> 17:50.420 How many more lines have we got? 17:50.420 --> 17:51.420 About three more. 17:51.420 --> 17:52.420 About three more? 17:52.420 --> 17:53.420 Well, let's start it. 17:53.420 --> 17:57.420 Okay. 17:57.420 --> 18:00.420 Take it easy. 18:00.420 --> 18:03.420 Here we are, and he runs into that part. 18:03.420 --> 18:04.420 Where? 18:04.420 --> 18:05.420 Just come down. 18:05.420 --> 18:08.420 Oh, just come down and give him a little tiny foot? 18:08.420 --> 18:09.420 There we are. 18:09.420 --> 18:15.420 All right, Jack. 18:15.420 --> 18:20.420 This drawing reminds me of the time Jonathan was in a train wreck. 18:20.420 --> 18:22.420 But it's an expression of yourself. 18:22.420 --> 18:25.420 This is an expression of myself? 18:25.420 --> 18:29.420 That's an expression, I better watch my language. 18:29.420 --> 18:30.420 What else? 18:30.420 --> 18:34.420 That's just a boot, and that's it, I think, because that is a boot. 18:34.420 --> 18:36.420 Funny. 18:36.420 --> 18:40.420 I thought my writer was writing for me, I guess he's writing for Jack and me, too. 18:40.420 --> 18:46.420 Well, are we ready for the next line? 18:46.420 --> 18:53.420 I, uh... 18:53.420 --> 18:58.420 Have you ever exhibited any of these? 18:58.420 --> 19:02.420 Well, we're going to have an exhibition very shortly. 19:02.420 --> 19:04.420 Have you ever been exhibited? 19:04.420 --> 19:06.420 Huh? 19:06.420 --> 19:08.420 Uh-huh, uh-huh, okay. 19:08.420 --> 19:11.420 And the thing there, don't forget the wart. 19:11.420 --> 19:15.420 And then there, and a little smiley, smiley. 19:15.420 --> 19:17.420 And down like this. 19:17.420 --> 19:23.420 This reminds me of the time I was in a train wreck with Jonathan and his writer. 19:23.420 --> 19:27.420 Make a face out of the glove. 19:27.420 --> 19:28.420 Out of the glove? 19:28.420 --> 19:29.420 I don't know. 19:29.420 --> 19:31.420 Did you design a glove like that? 19:31.420 --> 19:32.420 No. 19:32.420 --> 19:35.420 It's a little hot today, isn't it, Jerry? 19:35.420 --> 19:37.420 I'm so glad that made you. 19:37.420 --> 19:40.420 I didn't get you. 19:40.420 --> 19:42.420 Listen, what line are we going to go on to now? 19:42.420 --> 19:43.420 That's the right line. 19:43.420 --> 19:44.420 I think we'll make it in two more lines. 19:44.420 --> 19:45.420 Two more lines? 19:45.420 --> 19:46.420 Are you ready for the next line? 19:46.420 --> 19:47.420 Ready for the next one. 19:47.420 --> 19:49.420 Let's go. 19:49.420 --> 19:51.420 One there, one there. 19:51.420 --> 19:54.420 And we'll come up here. 19:54.420 --> 19:58.420 All right, one there, and we come up there, and we go, hmm, right there. 19:58.420 --> 20:00.420 And, um, where? 20:00.420 --> 20:05.420 Oh, and he's, there, have you got that? 20:05.420 --> 20:06.420 I think so, yes. 20:06.420 --> 20:07.420 Uh-huh. 20:07.420 --> 20:09.420 Uh-huh. 20:09.420 --> 20:10.420 This fella has not been well. 20:10.420 --> 20:11.420 That's cute. 20:11.420 --> 20:13.420 Obviously. 20:13.420 --> 20:17.420 I don't know, you lost me, Marge, at the last turn, huh? 20:17.420 --> 20:21.420 Sure was hiding in the glove. 20:21.420 --> 20:24.420 All right. 20:24.420 --> 20:28.420 Starting to look like Montalvo Day today on a bad day. 20:28.420 --> 20:31.420 I'm just getting lines. 20:31.420 --> 20:33.420 Stop that, don't do it anymore. 20:33.420 --> 20:34.420 Are you all finished with that one? 20:34.420 --> 20:36.420 Now, let's see, the next one is the last one coming up. 20:36.420 --> 20:37.420 This is the last two. 20:37.420 --> 20:39.420 One here, one here. 20:39.420 --> 20:40.420 I'm sorry, three. 20:40.420 --> 20:42.420 Well, you're just adding some, uh. 20:42.420 --> 20:43.420 Extra little. 20:43.420 --> 20:44.420 Yeah, a thingamajig. 20:44.420 --> 20:45.420 All right. 20:45.420 --> 20:46.420 That's it. 20:46.420 --> 20:47.420 Just to get a class, you know. 20:47.420 --> 20:51.420 Thingamajig, I'm giving you class now. 20:51.420 --> 20:54.420 No rising back? 20:54.420 --> 20:56.420 All right. 20:56.420 --> 20:58.420 You can put a belt in. 20:58.420 --> 20:59.420 Oh, there's a belt? 20:59.420 --> 21:02.420 All right, I'll put a belt in. 21:02.420 --> 21:03.420 There you go, Erica. 21:03.420 --> 21:05.420 What is that, a small page? 21:05.420 --> 21:09.420 I can't fit the package in. 21:09.420 --> 21:12.420 This guy needs a belt in the mouth. 21:12.420 --> 21:14.420 All we have are face. 21:14.420 --> 21:16.420 I think you're all through, huh? 21:16.420 --> 21:22.420 While I'm titling your pictures here at the panel, and you at home are titling your drawings. 21:22.420 --> 21:24.420 Now, we'll pass the line back to Mr. Sabin. 21:24.420 --> 21:28.420 Okay, if I want Laurie to go over and pick up the drawings that the panel did, 21:28.420 --> 21:31.420 and so that we can compare them with those of the home viewers. 21:31.420 --> 21:39.420 Incidentally, you people at home, uh, I would suggest tacking up your pictures next to the set, 21:39.420 --> 21:41.420 or in this case, like these people have done. 21:41.420 --> 21:48.420 They took Scotch tape and attached their drawings to the TV set, comparing their drawings along with us. 21:48.420 --> 21:54.420 I, uh, trust that your luck has been better than what the folks here have done on the panel. 21:54.420 --> 21:57.420 There they are. 21:57.420 --> 22:00.420 Oh, Ray White said, 22:00.420 --> 22:04.420 Oh, okay, Cutforth, the base is unloaded. 22:04.420 --> 22:08.420 Turn around, go out, go out and get hit. 22:08.420 --> 22:09.420 And Mark says, 22:09.420 --> 22:12.420 Do really take it. 22:12.420 --> 22:13.420 And Jeff says, 22:13.420 --> 22:16.420 Boy, was that a drainwreck. 22:16.420 --> 22:18.420 And Erica White says, 22:18.420 --> 22:20.420 This is a love. 22:20.420 --> 22:22.420 And Tomkey says, 22:22.420 --> 22:28.420 This game may be called on account of you, Tommy Ray. 22:28.420 --> 22:31.420 Let me say we give a five to somebody on the panel. 22:31.420 --> 22:35.420 I mean, uh, uh, who would you say? 22:35.420 --> 22:37.420 Well, I like Jonathan's color design. 22:37.420 --> 22:38.420 You do? 22:38.420 --> 22:39.420 The mobile there. 22:39.420 --> 22:40.420 Thank you. 22:40.420 --> 22:44.420 I like Erica's that has the shade of Picasso in it. 22:44.420 --> 22:46.420 I like mine too. 22:46.420 --> 22:47.420 I like Jonathan's. 22:47.420 --> 22:50.420 I like the idea of the whole baseball motif. 22:50.420 --> 22:54.420 I think Jeff shows signs of talent. 22:54.420 --> 22:56.420 In what? 22:56.420 --> 22:59.420 Well, he must. He's got a shirt. 22:59.420 --> 23:02.420 Not that I have. 23:02.420 --> 23:05.420 I sure like the title, though. 23:05.420 --> 23:07.420 Well, shall we get back to the drawing board? 23:07.420 --> 23:11.420 Yes. 23:11.420 --> 23:15.420 Well, folks. 23:15.420 --> 23:20.420 I hope you enjoyed playing past the line with us tonight. 23:20.420 --> 23:23.420 I want to thank you, Jonathan, for coming in. 23:23.420 --> 23:24.420 It's a pleasure. 23:24.420 --> 23:27.420 And Erica, it was sweet of you to come across the hall 23:27.420 --> 23:30.420 and show us your dress and also play the game with us. 23:30.420 --> 23:33.420 Jeff, I'll see you on TV. 23:33.420 --> 23:34.420 I hope so. 23:34.420 --> 23:36.420 And as for you, Ma, I don't let them get you down. 23:36.420 --> 23:37.420 I won't. It was fun, Cliff. 23:37.420 --> 23:41.420 And Ray, it was very nice of you to lead the gang in this drawing. 23:41.420 --> 23:43.420 We'll see you again. 23:43.420 --> 23:44.420 Back for a drink. 23:44.420 --> 23:45.420 Right. 23:45.420 --> 23:53.420 Now, folks, you at home, you can submit ideas to us or drawings. 23:53.420 --> 23:56.420 And the ones that we choose, we will give a $50 wall bond 23:56.420 --> 24:00.420 or a savings bond, rather. 24:00.420 --> 24:03.420 You can write in care of this, in care of Cliff Saber, 24:03.420 --> 24:04.420 in care of this network. 24:04.420 --> 24:08.420 And I just want to say thank you for dropping in 24:08.420 --> 24:11.420 and past the line of goodwill to all your neighbors. 24:11.420 --> 24:12.420 Can you say goodnight to the folks? 24:12.420 --> 24:13.420 Maury? 24:13.420 --> 24:14.420 Goodnight, Cliff. 24:14.420 --> 24:15.420 Say goodnight to the folks. 24:15.420 --> 24:18.420 Goodnight, everybody. 24:18.420 --> 24:22.420 Created and produced by Cliff Saber. 24:22.420 --> 24:28.420 Music by Mal Paul. 24:28.420 --> 24:30.420 Senior Technician John Giordano. 24:30.420 --> 24:32.420 Technical Directors Uptown Tom Babcock. 24:32.420 --> 24:34.420 Downtown Paul Connolly. 24:34.420 --> 24:36.420 Audio by Bill Waglem. 24:36.420 --> 24:41.420 Directed by Harry Coyle. 24:41.420 --> 24:48.420 Past the Line is a Cliff Saber production. 24:48.420 --> 24:51.420 I'd like to see you back here for a second. 24:51.420 --> 24:56.420 I have here a little booklet which represents the artist. 24:56.420 --> 25:00.420 This is, each page of this booklet acts as Ray White. 25:00.420 --> 25:03.420 For instance, each page represents a line of a ten-line drawing. 25:03.420 --> 25:05.420 Here's your first line. 25:05.420 --> 25:07.420 In other words, you get your family sitting side by side. 25:07.420 --> 25:10.420 Papa can start off his first line here 25:10.420 --> 25:12.420 instead of composing a drawing of his own. 25:12.420 --> 25:14.420 Then he flips the page to the second page, 25:14.420 --> 25:17.420 and you have the first line with the second line added to it, 25:17.420 --> 25:21.420 and the third line, and the fourth line, et cetera, et cetera, 25:21.420 --> 25:28.420 until ten lines are drawn and you get a completed drawing such as this. 25:28.420 --> 25:32.420 Now, you can send in your box tops or go to your local dealer 25:32.420 --> 25:35.420 and get these little booklets of the famous artists who appear on Past the Line, 25:35.420 --> 25:40.420 or you can go to your local department store and buy a Past the Line package 25:40.420 --> 25:46.420 which includes three of these booklets, four pads of paper, and four Past the Line pencils. 25:46.420 --> 25:51.420 And now I think John Wingate would like a few words to say concerning this. 25:51.420 --> 25:54.420 The thing you've got to understand about producing, I think, a show like this 25:54.420 --> 25:57.420 and tying it up to your particular client or your client needs 25:57.420 --> 26:02.420 is the incredible, and we use incredible, I think, not superfluously, certainly, 26:02.420 --> 26:04.420 merchandising tie-in which you have. 26:04.420 --> 26:07.420 The merchandising rights can be worked out between you and Mr. Saber, 26:07.420 --> 26:10.420 but here you have a natural and complete home tie-in 26:10.420 --> 26:13.420 because the family can sit before the set, can draw before it. 26:13.420 --> 26:16.420 You've got your pencils. Suppose, for example, you're Colgate. 26:16.420 --> 26:18.420 It's the Colgate Past the Line pencil. 26:18.420 --> 26:21.420 You can sell those, too. You can sell those pencils for ten cents. 26:21.420 --> 26:23.420 If you're a Colgate man, you know how much they cost you to make. 26:23.420 --> 26:28.420 You get a double tie-in, actually a double profit earning from your merchandising tie-in 26:28.420 --> 26:32.420 because you can use that for a profit, and you can also use the insinuation 26:32.420 --> 26:36.420 if you want to take it subtly or if you want to hit them over the head even more than that. 26:36.420 --> 26:41.420 The natural merchandising plus of Past the Line is something that should get your eye 26:41.420 --> 26:43.420 no matter what your product is. 26:43.420 --> 26:45.420 Okay, thanks a lot, John. That was wonderful. 26:45.420 --> 26:47.420 Are you going back uptown now? 26:47.420 --> 26:49.420 Well, Past the Line. 26:49.420 --> 26:53.420 Bye.