In contrast o the exteriors were the interior dark recesses of the labyrinthine cave-shaft sequences (shot in a studio) that were particularly allegorical - signifying the impenetrable blackness of the twisted mind of the self-destructive protagonist, as he schemed and descended further and further into his own entrapped existential state - literally a hole from which he couldn""t escape.The scene was shot from outside in a frame split by the wall between them, when they discussed how uncomfortable and restless they were, and Joe finally admitted: "I love you Connie," and she responded likewise: "I love you more than anything in the world.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.After taking off as Superman, Clark reemerged from a drainage pipe with Buster.He was less than incredulous when told Superman had been there: "I""m from Metropolis.I see Superman every day," and then grumbled to himself when Ricky asked for the superhero""s autograph: "If I had a nickel for every time some little kid.The FBI planned to pull the suspected ad and replace it with one of their own, to set a trap for the serial killer "Tooth Fairy" ("Mementoes for you at Baltimore Central Left Luggage.