A Quote by Anton Chekhov

If there is a gun hanging on the wall in the first act, it must fire in the last. — © Anton Chekhov
If there is a gun hanging on the wall in the first act, it must fire in the last.
If there's a gun on the wall in act one, scene one, you must fire the gun by act three, scene two. If you fire a gun in act three, scene two, you must see the gun on the wall in act one, scene one.
If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off. If it's not going to be fired, it shouldn't be hanging there.
My own experience is that once a story has been written, one has to cross out the beginning and the end. It is there that we authors do most of our lying . . . one must ruthlessly suppress everything that is not concerned with the subject. If, in the first chapter, you say there is a gun hanging on the wall, you should make quite sure that it is going to be used further on in the story.
Rincewind gave his fingers a long shocked stare, as one might regard a gun that has been hanging on the wall for decades and has suddenly gone off and perforated the cat.
Pulling a gun's trigger can be an appalling act. But if it is suicidal drawing fire to save someone, it has an utterly different meaning. Placing your hand on someone's arm can be an act of deep compassion or the first step of betrayal. The punch line? It's all about context, and the biology of context is vastly more complicated than the biology of the behavior itself.
On the wall of our life together hung a gun waiting to be fired in the final act.
Never bring a cannon on stage in Act I unless you intend to fire it by the last act.
Above all, we must understand that in leaving the toxic ways of the present we are healing ourselves, our places, and our planet. We rebel not as a last act of desperation but as a first act of creation.
If in the first act you introduce a gun, by the third act you have to use it.
And then she realized that his presence was the wall, his presence was destroying her. Unless she could break out, she must die most fearfully, walled up in horror. And he was the wall. She must break down the wall. She must break him down before her, the awful obstruction of him who obstructed her life to the last. It must be done, or she must perish most horribly.
The act the act must not be a revenge. It must be a calm, weary renunciation, a closing of accounts, a private, rhythmic deed. The last remark.
My first experience in a movie theater was Dick Tracy. There was a scene with a guy with a Tommy gun and a wall of fire behind him. I panicked, screamed, and jumped out of my seat. And I ran six New York city blocks, running into the street and almost got hit by a bunch of cars and had my mom chasing after a panic-stricken four-year-old.
If other things must be destroyed in order for fire to exist, that's all right with fire. As far as fire is concerned, that's what those things are there for in the first place.
We must band together to call for gun-control legislation. We must act in ways that promote the dignity and value of human life.
You might be a redneck if there is a sheet hanging in your closet and a gun rack hanging in your truck.
It's the only pawnshop I know that's got real Picassos hanging on the wall. I have Salvador Dalis on the wall. I have LeRoy Neimans.
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