His most successful use of accessories are:

1.     Mrs. Dietrichson's anklet in Double Indemnity (1944)

By making her character wear an anklet, Wilder not only provided a jumping point for the seduction of Neff but also a means to introduce the seductress.  Wilder wanted to photograph her coming down the steps with the anklet so it was necessary to have the Dietrichsons live in a two-story house.  And Mrs. Dietrichson first appeared on top of the staircase in only a towel.

2.     Mr. Boot's belt and suspenders in Ace in the Hole (1951)

3.     Colonel von Scherbach's boots in Stalag 17 (1953)

4.     Sir Wilfrid Robarts' monocle in Witness for the Prosecution (1957)

Double Indemnity (1944)
A:       Walter Neff (Fred MacMurray)
B:       Phyllis Dietrichson's (Barbara Stanwyck) 

B:       I wasn't long, was I?
A:       Not at all, Mrs. Dietrichson.
B:       Hope I got my face on straight.
A:       It's perfect for my money. 
B:       Neff is the name, isn't it? 
A:       Yeah.  With two "F"s, like in Philadelphia, if you know the story.
B:       What story?
A:       The Philadelphia Story. 
B:       Suppose we sit down and you tell me about the insurance.  My husband never tells me anything.
A:       Well, it's on your two cars, the La Salle and the Plymouth.  We've been handling this insurance for Mr. Dietrichson for three years and we'd hate to see the policies lapse.
[As Walter sits across Phyllis, he is distracted by the anklet.] 
A:       That's a honey of an anklet you're wearing, Mrs. Dietrichson.  [Phyllis uncrosses her legs.]  As I was saying, we'd hate to see the policies lapse.  Of course, we give them 30 days.  That's all we're allowed to give.
B:       I guess he's been too busy down at Long Beach in the oil fields.
A:       Couldn't I catch him at home some evenings for a few minutes?
B:       I supposed so.  But he's never home much before 8:00.
A:       That's fine with me.
B:       You're not connected with the Automobile Club, are you?
A:       No, the All Risk, Mrs. Dietrichson.  Why? 
B:       Somebody from the Automobile Club has been trying to get him.  Do they have a better rate? 
A:       If your husband's a member.
B:       No, he isn't.
[Phyllis stands and paces.]
A:       Well, then he'd have to join the club and pay the membership fee to start with.  I never knock the other fellow's merchandise, Mrs. Dietrichson.  The Automobile Club's fine.  I can do just as well for you, though.  I have a very attractive policy here.  It wouldn't take me two minutes to put it in front of your husband.  For instance, we're writing a new kind of 50% retention feature in the collision coverage. 
B:       You're a smart insurance man, aren't you Mr. Neff?
A:       Well, I've been at it 11 years.
B:       Doing pretty well?
A:       It's a living.
B:       You handle just automobile insurance, or all kinds?
A:       All kinds.  Fire, earthquake, theft, public liability, [A sits down and crosses her legs] group insurance, industrial stuff and so on, right down the line.
B:       Accident insurance?
A:       Accident insurance?  Sure, Mrs. Dietrichson.  Wish you'd tell me what's engraved on that anklet.
B:       Just my name.
A:       As, for instance?
B:       Phyllis.
A:       Phyllis, huh?  I think I like that.
B:       But you're not sure?
A:       I'd have to drive it around the block a couple of times.
B:       Mr. Neff, why don't you drop by tomorrow evening around 8:30?  He'll be in then. 
A:       Who?
B:       My husband.  You were anxious to talk to him, weren't you? 
A:       Yeah, I was, but I'm sort of getting over the idea... if you know what I mean. 
B:       There's a speed limit in this state, Mr. Neff.  45 miles an hour.
A:       How fast was I going, officer?
B:       I'd say around 90.
A:       Suppose you get down off your motorcycle and give me a ticket.
B:       Suppose I let you off with a warning this time.
A:       Suppose it doesn't take.
B:       Suppose I have to whack you over the knuckles.
A:       Suppose I bust out crying and put my head on your shoulder.
B:       Suppose you try putting it on my husband's shoulder.
A:       That tears it.
[Walter picks up his hat and moves to the door.]
A:       8:30 tomorrow evening then. 
B:       That's why I suggested.
A:       You'll be here, too? 
B:       I guess so, I usually am. 
A:       Same chair, same perfume, same anklet?
B:       I wonder if I know what you mean.
A:       I wonder if you wonder. 

[At the office]
A:     Back in my office there was a phone message from Mrs. Dietrichson about the renewals.  She didn't want me to come tomorrow evening.  She wanted me to come Thursday afternoon at 3:30  instead.  I had a lot of stuff lined up for that Thursday afternoon, including a trip down to Santa Monica to see a couple of live prospects about some group insurance.  But I kept thinking about Phyllis Dietrichson and the way that anklet of hers cut into her leg.

[Their final meeting]
B:       In here, Walter. 
A:       Hello, baby.  Anybody else in the house?
B:       Nobody.  Why? 
A:       What's that music?
B:       A radio up the street.
[Walter sits down on the arm of the davenport, close and directly in front of Phyllis.]
A:     Just like the first time I came here.  Isn't it?  We were talking about automobile insurance.  Only you were thinking about murder.  I was thinking about that anklet. 
B:       And what are you thinking about now?
A:       I'm all through thinking, baby.  I just came to say goodbye.

There were backup anklets available in case of loss but Barbara Stanwyck kept the original one.

Ace in the Hole (1951)
A:     Charles Tatum (Kirk Douglas)
B:      Jacob Q. Boot (Porter Hall) 

B:      Mr. Tatum?   
A:      Yes, sir. 
B:      Go ahead.  What is it? 
A:      Well, Mr. Boot, I was passing through Albuquerque.  Had breakfast here.  Read your paper.  Thought you might be interested in my reaction.
B:      You bet I am.
A:      Well, sir, it made me throw up.  I don't want you to think I expected the New York Times.  But even for Albuquerque, this is pretty Albuquerque.
B:      All right.  Here's your nickel back.  Now, what's all this about my making $200 a week?   
A:      Apparently, you're not familiar with my name.
B:      Can't say that I am.
A:      That's because you don't get the eastern papers out here.  I thought maybe once in a while somebody would toss one out of the Super Chief... and you might have seen my byline.  Charles Tatum?  Worked New York, Chicago, Detroit -- 
B:      What about the 200? 
A:      I was coming to that.  Mr. Boot, I'm a $250-a-week newspaperman.  I can be had for 50.   
B:      Why are you so good to me?
A:      I know newspapers backward, forward and sideways.  I can write 'em, edit 'em, print 'em, wrap 'em and sell 'em.   
B:      Don't need anybody right now.
A:      I can handle big news and little news.  And if there's no news, I'll go out and bite a dog. [a pause] Make it 45. 
B:      What makes you so cheap?
A:      A fair question, considering I've been top man whereve I've worked.  You'll be glad to know that I've been fired from 11 papers... with a total circulation of seven million-- for reasons with which I don't want to bore you.
B:      Go ahead.  Bore me.
A:      I'm a pretty good liar.  I've done a lot of lying in my time.  I've lied to men who wear belts.  I've lied to men who wear suspenders.  But I'd never be so stupid to lie to a man... who wears both belt and suspenders.
B:      How's that again?
A:      You strike me as a cautious man, a man who checks and double-checks.  So, I'll tell you why I was fired.  In New York a story of mine brought on a libel suit.  In Chicago, I started something with the publisher's wife.  In Detroit, I was caught drinking out of season.  In Cleveland--
B:      I get the picture.
A:      Now, then I find myself in Albuquerque with no money, a burnt-out bearing, bad tires and a lousy reputation. 
B:      Bad tires can be dangerous.
A:      I've only one chance to get back where I belong-- to land a job on a small-town paper like yours... and wait and hope and pray for something big to break-- something I can latch onto, something the wire services will gobble up and yell for more.  Just one good beat-- a Tatum special-- and they'll roll out the red carpet.  'Cause when they need you, they forgive and forget.  But until then, Mr. Boot, you'll get yourself the best newspaperman you ever had.  At 40 per.  When do I start? 
B:      Don't push.
A:      I hope I haven't scared you off.
B:      Well, I don't know.  I'm not afraid of a libel suit, because I'm a lawyer myself.  Check and double-check every word I print.
A:      Sure.  Belts and suspenders.
B:      About that publisher's wife.  I think you should know that Mrs. Boot is a grandmother three times.  If you wanna start something with her, she'd be very flattered.  As for drinking-- Do you drink a lot? 
A:      Not a lot.  Just frequently.
B:      We have a shop rule here.  No liquor on the premises. 
A:      Uh, how about smoking?  
B:      Of course.  And, I pay 60 a week in this shop.  
A:      I'll take it. 
[Mr. Boot opens the door of his office.] 
A:      Where's my desk?
B:      The one by the door.  You may be outta here by Saturday.
A:      The sooner, the better.