According to author John T. Hetherington:
The episode opens with Rush and Sade in City (probably "Miller") Park, many blocks from Virginia Avenue. The pair had walked much farther than intended and are now going to the animal-house. It is very cold and they talk about how different the park is in winter, and Sade wonders if the animals are warm. Rush says that the city has to keep the animal-house warm for the animals.
Sade shares memories of Sunday afternoons in the park in the summer, and Rush talks about the animal house, including his disappointment that they missed the four o’clock feeding. Rush explains his reasons for wanting to start with the monkeys and end with the lions and tries to wake up one of the sleeping lions.
SADE: Well, why on earth would ya wanta start with the monkeys if they’re clear at the other end?The two decide to take the streetcar home to avoid the cold after seeing the tiger.
RUSH: There’s two reasons for that. The first one is: if ya start with the monkeys, you’re startin’ with somethin’ small. Then you can build up to the lions gradually. That way you intensify the thrill as you walk along.
SADE: (giggles) Heavens. What’s the other reason?
RUSH: The other reason is: if ya start with the monkeys, you can end up here with the lions an’ be at the door ready to go home. If you start with the lions, you end up with the monkeys an’ hafta walk back without anything new to look at.
SADE: Well, I’m still in favor of startin’ with the lions.
RUSH: O.K. Here’s a lion.
RUSH: Then it is my pleasure to escort you to the tiger.
SADE: (laughs) You an’ your movie talk.
RUSH: That’s all right, ain’t it?
Rush tells Sade the story of “Little Black Sambo” (but gets some of the details wrong), and they view several more animals before leaving. Rush says “We’re pretty good company for each other, ain’t we?” to Sade, who agrees. “It makes me feel good to hear you say that, son,” she replies when he tells her that he likes talking with her and listening to her.SADE: Sounds queer to hear a little boy talk so biggety.
One interesting detail is that this script is heavily marked up with over-typing and strikeouts, indicating that Paul Rhymer made many revisions to the lines as he wrote it.
The title is one I have given the episode purely for identification purposes.