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"Scene: Naïve Wells tells all about his machine and its secrets to his dinner guests. Wells then explains to John that the vaporizing equalizer enables the time traveler to travel with the machine; otherwise without it he travels thru time without the machine and cannot return to the point of departure. Our dear friend H.G. (in this rendition) was a blabbermouth, but this character flaw also was a key action in the domino of effects that eventually led him to Amy."

Also later on:

"...Now: As mentioned above, there are plenty of tritone intervals in this cue. A# to E and C# to G are examples of the diminished 5^th variety of tritones, while E to A# and G to C# are augmented 4^th versions. Incidentally, the tritone interval is part of the Dominant seventh structure (if you recall, he used only Dom 7^th in the earlier "Farewell" cue). The tritone was once considered the "diabolus in musica" interval and it was never used in Gregorian music. The tritone is considered the most dissonant interval, bestowing an unsettling, restless, sometimes ambiguous quality that yearns for resolution or rest. It splits up an octave exactly in the middle (3 whole tones) and its presence is quite conspicuous. If the dim 5^th version, then it is minor third related and tends to be interpreted as "heavy" or "dark." If the aug 4^th version, it is major third related and tends to be brighter" yet somewhat biting and certainly adds "spice" to the tonality.

Rozsa was an astute musician because he immediately saw the connection between the tritone and the villain in this movie (Jack the Ripper). The tritone is the "devil's note" or the "wolf" and with Rozsa's associative/musical mind, he saw that Jack was a devilish character, a rather demonized figure (portraying evil). So with his typical "harmonic acerbity," Rozsa employed the use of the tritone to depict various aspects of the storyline. He did not want to use minor seventh chords to depict Jack because there is no tritone interval in a min7th chord. However, dissonant Dominant seventh chords do indeed include tritones. There is a great deal of tension generated with the frequent use of tritones that at least subtly fosters a restless feeling, and so Rozsa's music in this score masterfully "sets-up" the listening audience for an unsettling experience through various chapters of this movie. ..."

"Scene: Foggy London night street scene in 1893. Drunken Jennie leaves the tavern and staggers slowly down the street. Some is following her. It is Jack! The music ends when Jennie turns around and speaks to Jack (off screen). Unfortunately the music is barely heard on the vhs or off the movie screen until the very end of the cue, so you will need to listen to one of the compact discs. On the mono cd, go to track # 1 starting at 1:20 (it is erroneously titled "The Fog"). ..."

Bassons/celli initially play the Jack phrasing later joined in Bar 5 by the deep tuba.Pos III, augmented by the other trombones shortly later. Rozsa's technique is to add layers as the scene progresses, a dynamic build or buildup to create more suspense and anticipation of the audience silently saying, "I don't get a good feeling about this!" as the scene unfolds.