Now all I'm doing here is presenting sentence sequences and constructions that I think might send the reader off in the wrong direction or make her squint and backtrack, or break your POV logic. This is just to keep conscious in revision of what the reader is going to get, and make sure it's what you want.
Here's one of those dialogue passages that doesn't use "he said," and the lack of that tends to draw readers in more to the dialogue. However, the reader still does need to be sure of who is saying what.
Example, and I am making the characters "he" and "she" so there's no pronoun confusion:
They stopped outside of a massive block of storage containers, and both of them got out of the truck. Oliver glanced over at the office, where a young guard sat bored behind the alarmed windows. It would do.
"I owe you one." Mary handed him the envelope. He stuffed it in his pocket. "I'll use the combination from high school-- you remember that."
"Kurt Cobain's deathday. Yeah. I remember."
"I owe you one" is spoken by Oliver, but as it's immediately followed by "Mary handed him" it sort of sounds like Mary said it. So how about "Oliver took the envelope"? That way his name is the one closest to the dialogue sentence and, also, it's clearly in his POV (you can say "he" if you don't like using the POV character's name)-- he's the one whose actions (taking rather than giving) matter, as we're in his perspective.
Not a big deal. But stay conscious of the reader's experience of your sentences, and know that you can cause the right experience by how you craft the sentences. The last thing you want is to halt your careful pacing by making the reader go back and re-read.