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.
—Michael Main Following the directions of the two men we walked on: but the path pointed out to us seemed to lead away from where we imagined the Petit Trianon to be; and there was a feeling of depression and loneliness about the place. I began to feel as if I were walking in my sleep; the heavy dreaminess was oppressive. At last we came upon a path crossing ours, and saw in front of us a building consisting of some columns roofed in, and set back in the trees. Seated on the steps was a man with a heavy black cloak round his shoulders, and wearing a slouch hat. At that moment the eerie feeling which had begun in the garden culminated in a definite impression of something uncanny and fear-inspiring. The man slowly turned his face, which was marked by smallpox: his complexion was very dark.
