- The ending. More bittersweet than depressing, but also the best way to end the best B-movie Film Noir in history.
Tana: Isn't somebody gonna come and take him away?
Schwartz: Yeah, in just a few minutes. You really liked him didn't you?
Tana: The cop did... the one who killed him... he loved him.
Schwartz: Well, Hank was a great detective all right.
Tana: And a lousy cop.
Schwartz: Is that all you have to say for him?
Tana: [sighs] He was some kind of a man. What does it matter what you say about people?
Schwartz: Goodbye Tana.
Tana: Adiós. (walks into the night)
- As a meta example, The Oner tracking shots that pop up throughout the film, especially the epic opening shot tracking across a city landscape as the doomed car and the main characters keep crossing each other's paths. Some of the best camera work of the era.
- Also one for Charlton Heston, in the scene where his character casually zips his car through the town's back alleyways; Heston really was simultaneously driving the car and acting. Mort Mills, next to him, had the boom microphone and the sound equipment practically sitting in his lap. Welles disliked the artificiality of shooting such driving-and-talking scenes with rear projection on a soundstage, or by having the actors' car towed by another car — he wanted to film at least one car scene the way he thought it should be done, and Heston stepped up admirably.