"Vic and Sade" was the most unique radio program ever, (1932 - 1944), written by the most-underrated writer of the 20th Century, Paul Rhymer.
Sade tries to sucker Vic to go on a trip to the Bijou (Gloria Golden, ugh!) and also visit Dr. Keevy's office, which has recently been refurnished. In the end though, Vic's well-documented fear of the dentist saves the day.
Ruthie, feeling bad about the whole thing and in order to set confusion aside and make things right between the ladies, mails Sade a five dollar bill. She spends the episode explaining the money confusion to Vic (who acts like he cares but we know he could really care less) and explaining to him that she also sent Ruthie five dollars in the mail.
Meanwhile, Rush is busy trying to tell the story of Smelly Clark, Eunice Raypole and "The most dramatic moment of his entire career" (edited): {{{HEAR}}}MIS' CROWE SAYS:SEE THE SCRIPT (transcribed by Lydia Crowe)
Vic tries to talk Sade into letting him spend $50 on a painted portrait and Rush tells a story.
Vic tries a new strategy with Sade here — pretending that he doesn’t really want what Lodge Headquarters is offering (although he obviously does) and seeing if Sade will be convinced of the offer’s merits through a casual discussion. It doesn’t work very well.
Although the matter of the painted portrait of the Exalted Big Dipper gives the title to this episode, it’s really about the most dramatic moment of Rush’s career. He has to tell the story in bits and pieces, but he gets the whole thing out, and it’s…well, it’s one of those moments in Vic and Sade that I can’t really do justice to with words. You’ll just have to listen/read.
MIS' CROWE SAYS:SEE THE SCRIPT (transcribed by Lydia Crowe)
Rush strikes an intriguing deal with a local contractor and prematurely basks in the resulting fame and glory.
Kids — even big monstrous teenage boys like Rush — have a lot of gaps to fill in regarding their perceptions of the world and their abilities. I remember when I was about 6 one summer day I attempted to dig myself a swimming pool in the garden. I managed about a 2 foot by 2 foot by 1 foot mud hole before I gave up and called it quits. Later, when I was about 11 and home alone, I somehow got it in my head that I was going to build myself a playhouse outside. My father was a machinist and had a lot of junk lying around so this seemed within the realm of possibility. One of my parents came home from work to find me dragging lumber around the yard. So, thinking back on my own childhood, I can very strongly relate to Rush’s ambitions here.
I’m wondering what kind of a wiseacre J.J. Gifford is to have struck this deal with Rush. The only thing this guy would have gotten out of this would have been to make Rush look like a dummy. Poor Rush is in for some bitter disappointment when he first goes down to the site and attempts to tear down this brick building. I’m glad we didn’t have to hear the fallout from that…I have such affection for Rush; such things go straight to my heart.
I’m noticing a trend: doesn’t it seem like Vic and Sade are both easier on Rush when it’s just one of them interacting with him at a time? It’s as if, when both parents are present, one of them has to take on the authoritative role, in order to demonstrate their parental effectiveness to the other. When it’s just Sade and Rush or Vic and Rush, the atmosphere is much more relaxed. Normally one of the two would attempt to enlighten Rush as to the craziness of this scheme…but today, Sade just goes with the flow. Obviously, Sade realizes, Rush will understand the impracticality of his ambitions the second he goes down to the warehouse and starts working…so what’s the point of working herself up?
