This version of Twain’s story borrows some sf tropes from Shelley’s Frankenstein (a mad scientist) and Kipling’s “Wireless” (recovering sound from the past), although all that is small potatoes next to Will Rogers’ folksy wit. His character—Hank “Martin—is tossed back to Camelot when a bolt of lightning and a suit of armor knock him over at the mad scientist’s lab, and at the end, he returns via a similar timeslip. In between, we get one-liners, tommy guns, tanks, cars, characters that are eerily familiar from Martin’s present-day life—and a lot of time to debate whether this version has a real timeslip or is just a dream.