"Thank you, Drew. Yeah. I did enjoy—or rather I was interested in meeting John Bontecou, yesterday. And—impressive, I suppose. But... But, it did get me to thinking. See, I started in this business because this is what I wanted to do. I knew I wasn't going to write the great American novel, but I also knew there was more to life than buying something for a dollar and selling it for two. I'd hoped to create something, something which could be held to the highest standards. And what I realized was I wanted to give the news to the world, and I wanted to give it unvarnished. The more we all know about each other, the greater the chance we will survive. Sure, I want to make a profit. You can't exist without one. But John Bontecou is all profit. Now if we give him license to absorb Parrish Communications, and he has his eye on a few others after us, in order to reach the world you will have to go through John Bontecou. And not only will you have to pay him to do this, far more important, you'll have to agree with him. Reporting the news is a privilege and a responsibility, and it is not exploitable. Parrish Communications has earned this privilege. John Bontecou wants to buy it. As your Chairman, I urge you to agree this company is not for sale."

"You're not Death. You're just a kid in a suit."

"I want you to sing with rapture and dance like a dervish."

"You never know, lightning could strike."

"My wife turned me on to cold lamb sandwiches. Not as chewy as roast beef. Not as boring as chicken. She knew stuff like that."

"I thought I was going to sneak away tonight. What a glorious night! Every face I see is a memory. It may not be a perfectly... perfect memory. Sometimes we've had our ups and downs, but we're all together, And you're mine, for a night. And I'm going to break precedence and tell you my one candle wish: that you would have a life as lucky as mine, where you can wake up one morning and say, "I don't want anything more." 65 years... Don't they go by in a blink?"

"Love is passion, obsession, someone you can't live without. I say fall head over heels, find someone you can love like crazy and who'll love you the same way back. How do you find him? Well, you forget your head and you listen to your heart and I'm not hearing any heart. Because, the truth is there is no sense living your life without this. To make the journey and not fall deeply in love - well, you haven't lived a life at all. But you have to try, because if you haven't tried, you haven't lived... Stay open, who knows? Lightning could strike."

"When I introduce you, and I tell them who you are, I don't think anyone will stay for dinner."

"Death is not the end."

"Amanda Detmer - Terry Chaney"

"Tony Todd - William Bludworth"

"Seann William Scott - Billy Hitchcock"

"Chad E. Donella - Tod Waggner"

"Roger Guenveur Smith - Agent Schreck"

"Daniel Roebuck - Agent Weine"

"Kristen Cloke - Valerie Lewton"

"Kerr Smith - Carter Horton"

"Ali Larter - Clear Rivers"

"Devon Sawa - Alex Browning"

"You may get a second chance at life. But you can't cheat Death."

"Are you ready to match wits with the Grim Reaper?"

"Next stop, it's you..."

"I'll see you soon."

"Death is coming."

"Can you cheat Death?"

"Face your deepest fears...before they face you."

"No accidents. No coincidences. No escapes. You can't cheat Death."

"Death doesn't take "no" for an answer."

"Most people have dreams. For Alex, this is real."

"But remember the risk of cheating the plan...disrespecting the plan could incite a fury that could terrorize even the Grim Reaper. And you don't even wanna fuck with that MacDaddy."

"In death, there are no accidents, no coincidences, no mishaps, and no escapes. You have to realize that we're all just a mouse that a cat has by the tail. Every single move we make, from the mundane to the monumental, the red light that we stop at or run, the people we have sex with or want with us, the airplanes that we ride or walk out of—it's all part of Death's sadistic design leading to the grave."

"[Reading his memorial speech.] We say that the hour of death cannot be forecast. But when we say this, we imagine that the hour is placed in an obscure and distant future. It never occurs to us that it has any connection with the day already begun, or that death could arrive this same afternoon—this afternoon, which is so certain, and which has every hour filled in advance."

"How do we know this isn't exactly what was meant to happen? That out of everyone on Flight 180, you, me and Carter were meant to live. Maybe that was the design all along."

"The mortician said that Death has a design. Okay. I'm talking about omens. How do we know that just by sitting here, by sipping this coffee, or breathing the air, or even crossing the intersection, that we haven't started in motion the events that will some day lead to our death—forty years from now, ten years from now, tomorrow? We don't. Unless we open ourselves up to the signs it's willing to show us."

"Max von Sydow — Antonius Block"

"The Seventh Seal was always my favourite film, and I remember seeing it with a small audience at the old New Yorker Theatre. Who would have thought that the subject matter could yield such a pleasurable experience? If I described the story and tried to persuade a friend to watch it with me, how far would I get? 'Well,' I'd say, 'it takes place in a plague-ridden medieval Sweden and explores the limits of faith and reason based on Danish — and some German — philosophical concepts.' Now this is hardly anyone' idea of a good time, and yet it's all dealt off with such stupendous imagination, suspense, and flair that one sits riveted like a child at a harrowing fairy tale. Suddenly the black figure of Death appears on the seashore to claim his victim, and the Knight of Reason challenges him to a chess game, trying to stall for time and discover some meaning to life. The tale engages and stalks forward with sinister inevitability. Again, the images are breathtaking! The flagellants, the burning of the witch (worthy of Carl Dreyer), and the finale, as Death dances off with all the doomed people to the nether lands in one of the most memorable shots in all movies. Bergman is prolific, and the films that followed these early works were rich and varied, as his obsession moved from God's silence to the tortured relations between anguished souls trying to make sense of their feelings."

"Ulf Johanson – Jack's leader"

"Harry Asklund – Inn keeper"

"Gudrun Brost – Maid"

"Tor Borong – Farmer"

"Benkt-Åke Benktsson – Merchant (final film role)"

"Lars Lind – Young monk"

"Anders Ek – The Monk"

"Gunnar Olsson — Albertus Pictor"

"Bertil Anderberg — Raval"

"Gunnel Lindblom — The Girl"

"Inga Landgré — Karin"

"Maud Hansson — Witch"

"Inga Gill — Lisa"

"Åke Fridell — Plog"