IN THE DARK, a CLICKING SOUND, then a BRIGHT FLICKER,and, LET THERE BE LIGHT.And in the light, moving images. We realize now we’relooking at a film, and the clicking we hear is theprojector moving the film. The images we see are of thenineteen fifties, black and white, documentary style.Among the images: Smiling couples in the backyards ofVeteran track houses, grilling up burgers.NARRATORThe Great Depression was gone, if notforgotten. World War 2 was over and wehad saved the world from the bad guys.Duck tail rockers and pony tail honeys grooving to rockand roll music.NARRATOR (CONT’D)There was rock-a-billy or rock’n rollmusic on the radio. But no abundance ofrock’n roll feel in the air where welived.Hot rods charging side by side down a strip of highway ona moonlit night. Moths flutter up in front of the screen,charmed by the light, and now we see a strip of black atthe top of the screen, and in the black strip, stars.NARRATOR (CONT’D)A few of the guys like Chester White hadduck tails and hot rods.A soda shop scene with giggling girls at a juke box,punching in nickels.
PULL BACK MORE. It’s a drive-in theater packed with cars,and some of the cars are rocking. Cigarette smoke curlsout of car windows and rises into the night, but our mainfocus is still that big giant screen, that window intoour dreams.
NARRATOR (CONT’D)Some of the girls wore poodle skirts andpony tails. But the most radical thingthey did was play the same song over andover on the juke box. Mostly Elvis.Images continue to flicker by. A bus station. A sign thatreads WHITES ONLY. We can see smiling white facesentering into the bus station, men, women, children.