Wardrobe goof: When Maddie, David and the killer are in the loft, you can see that Maddie has on beige low heeled shoes. When she and David are told to stand back, you can see her Nikes.
Watch closely after the scene in the garage, when the cop fires at the car window. There is a quick view of the people inside, ducking, as the bullet just misses them.
The next shot of the front of the car shows that right where the bullet would have hit, near the top corner of the driver's side, is a perfectly circular hole about the size of a plant holder. It's the strangest reaction to a bullet this side of the Warren Commission.
David: Did I say something wrong?
Maddie: Do you ever say anything right?
Maddie: Two-thousand and thirty-five dollars and seventy-six cents, in the black!
David: Gosh sis, does that mean we can save the farm and get mom the heart operation she needs? (Maddie stares) It's okay if we only save the farm.
Maddie (as David hugs her, a little too closely): Get your hand off my behind!
David: Is that your behind--is that my hand?
Maddie: Well, you told me I had one call--this is who I called.
David: Has it ever occurred to you that the reason this town is crawling with so many crooks is that you never let 'em leave town?...That's it. I've said my peace.
David: Excuse me, but it's 2:30 in the morning, and I'd like to know why my colleague is being held, and why it isn't by me!
David:(bursting the door open): Let's just hold it right there, shall we? My client isn't answering any more of your questions.
Cop: You can't just burst in here like that.
David: Oh no? Tell that to the writers.
Highlight: Bernard Herrmann-style music score.
Maddie: Do you know what this means? We're ahead!
David: You're kidding! The two of us, together? Like Ray Milland and Rosey Grier in that awful movie ...
This is an allusion to the 1972 horror movie, The Thing With Two Heads.
The title is an allusion to two novels: The Portrait of a Lady, by Henry James, and The Picture of Dorian Gray, by Oscar Wilde.
The former is a story of a strong-willed woman who insists on making her own choices in matters including courtship, preferring a genteel but hard-hearted man over two successive men her family views as more suitable.
The latter is about a man who wishes for a perpetually youthful appearance -- only to see that the painting of himself he keeps in the attic continues to age. It is a constant rebuke for his vanity and a reminder that he will not be able to live forever and escape fate anyway.