- 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.