They take a leap while turning, and finish the turn with a tap dance barrage, in unison.And then for the first time, she opens her arms and invites him to ouch and take her in an exuberant embrace - they spin and whirl joyously around the stage floor together.This was not he first time the subject matter was performed.The screenplay by Howard Koch was based on W.Somerset Maugham""s mid-1920s London stage play (that featured Gladys Cooper in the lead role).Then, it was a Broadway play that opened in 1927 (with Katharine Cornell), followed by Paramount Studios"" talkie of the same name in 1929 with Academy-Award nominated Jeanne Eagels (in her sound film debut) as the female protagonist Leslie Crosbie." The digits "1" and "0" also represent binary code.]He had been conducting searches on the name "Morpheus" - a notorious figure in the news.The display scanned a document titled: "MORPHEUS ELUDES POLICE AT HEATHROW AIRPORT", and a "manhunt" was under way.The camera pans to the right to glimpse the square panels, brightly lit ceilings, and sliding doors.The door is answered by Poelzig""s grouchy-faced, mute housekeeper/Majordomo (Egon Brecher).Werdegast is concerned about the injured woman and requests that Poelzig be awakened.They ascend the curved staircase.Werdegast""s arrival is electronically announced on an ultra-modern speaker in Poelzig""s bedchamber, viewed hrough a drawn, wispy, veiled curtain.Filmed in journalistic, documentary-style black and white textures with some low-key lighting and chiaroscuro (often provided by a candle or low light source) - beautifully captured by Gregg Toland""s expert cinematography (remarkably un-nominated!), he picture records with astute realism rural America in the 30s.