...
Cut to film of the lost world. Tropical South American vegetation. Our four explorers from Jungle Restaurant and Ken Russell's Gardening Club sketches limp along exhaustedly.
Second Explorer My God, Betty, we're done for...
Third Explorer We'll never get out of here... we're completely lost, lost. Even the natives have gone.
First Explorer Goodbye Betty, Goodbye Farquarson. Goodbye Brian. It's been a great expedition...
Music. Cut to engraving of Crystal Palace.
SUPERIMPOSED CAPTION: 'CRYSTAL PALACE 1851'
Cut immediately back to jungle.
First Explorer Great expedition ...
Third Explorer All that'll be left of us will be a map, a compass and a few feet of film, recording our last moments...
First Explorer Wait a moment!
Fourth Explorer What is it?
First Explorer If we're on film, there must be someone filming us.
Second Explorer My God, Betty, you're right!
They all look around, then gradually all notice the camera. They break out in smiles of relief, come towards the camera and greet the camera crew.
Third Explorer Look! Great to see you!
First Explorer What a stroke of luck!
Camera Crew Hello! ...
First Explorer Wait a minute!
Fourth Explorer What is it again?
First Explorer If this is the crew who were filming us . .. who's filming us now? Look!
Cut to another shot which indudes the first camera crew and yet another camera crew with all their equipment. The director is dressed the same as Yakomoto, the director in 'Erizabeth L', only he is blacked up.
Director (African accent) Cut there man! No! No good! How we going to get feeling of personal alienation of self from society with this load of Bulldog Drummond crap? When I was doing 'La Notte' wi' dat Monica Vitti gal she don't gimme none of this empire building shit, man ...
Camera pans slightly to reveal a door in jungle. It opens and an inspector enters.
Inspector Not so fast, Akarumba! Allow me to introduce myself. I'm Inspector Baboon of Scotland Yard's Special Fraud Film Director Squad, Jungle Division.
Fourth Explorer Baboon of the Yard!
Inspector Shut up! (shoots her) Right, Akarumba! I'm arresting you for impersonating Signor Michelangelo Antonioni, an Italian film director who co-scripts all his own films, largely jettisoning narrative in favour of vague incident and relentless character study . . . (during this harangue the credits start to roll, music very faint beneath his words) ... In his first film: 'Cronaca Di Un Areore' (1950), the couple are brought together by a shared irrational guilt. 'L'Amico' followed in 1955, and 1959 saw the first of Antonioni's world-famous trilogy, 'L'Avventura' - an acute study of boredom, restlessness and the futilities and agonies of purposeless living. In 'L'Eclisse', three years later, this analysis of sentiments is taken up once again. 'We do not have to know each other to love', says the heroine, 'and perhaps we do not have to love...' The 'Eclipse' of the emotions finally casts its shadow when darkness descends on a street corner. (the credits end; voice and picture start to fade)... Signor Antonioni first makes use of colour to underline...
Fade to black and then to BBC world symbol
...