Quotes used for each character are done via translation from Portuguese.
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Main Characters
João Grilo
Played by: Matheus Nachtergaele
"Jesus died for the poor, Chicó. We're allowed a little intimacy."
The main character. João and his friend Chicó are both poor and looking for a job that will keep them afloat in an uncaring, exploitative society. The brains of the duo, João knows exactly what to say and what to do so he can get himself and his friend the best possible outcome of a dire situation.
- Animal Motifs: His last name means "cricket", which he invokes by always hopping around from place to place and making a racket that annoys people.
- Batman Gambit: Uses several over the course of the play/movie. The eponymous "dog's will" is one of these. Getting Severino to kill himself is another.
- Book Dumb: Illiterate and not exactly knowledgeable in terms of science, but certainly intelligent enough to survive the scalding hot desert town of Taperoá with nothing but his clothes on his body and the hair on his head.
- Classical Anti-Hero: He's the protagonist and has good intentions in mind, but he's also proud and extremely cynical. He's not brave enough to face a lot of problems head-on and, instead of direct confrontation, he uses manipulation and wit to trick others into doing things for himself.
- Don't Celebrate Just Yet: What gets him killed by the Cangaceiros, cheerfully declaring his victory over their leader when he's tricked into killing himself, right in front of the leader's second-in-command. He ends up shot for it.
- Freudian Excuse: Lived a life of poverty since birth, raised by migrants and forced to work since childhood under terrible living conditions, eating and drinking from cacti and having to bear the scorching sun over his head, giving thanks to God whenever the Rains came. This backstory is all meant to emphasize João's connection to actual pauper citizens of Northeast Brazil, who still live in such conditions to this day.
- Guile Hero: Being poor and living under rough conditions, João was essentially forced to develop his wit as a tool to get what he needs to survive. He's great at reading people and using the circumstances to make stuff up on the fly to achieve an objective, be it ensuring a stable job or getting himself and Chicó a good opportunity to get money on the side, as well as deflecting blame off themselves when things go south.
- Heterosexual Life-Partners: With Chicó. Even when they're at each other's throats, the two are inseparable.
- Know When to Fold 'Em: Has no pleas to save himself from damnation at the heavenly trial, knowing well that his infractions are too many and he's run out of luck by that point, although it's left deliberately vague whether or not the Devil was right and he was just churning up melodrama to earn the Virgin Mary's sympathy.
- Leitmotif: "Presepada
", an accordion and triangle theme used as the main theme for the movie and later the play. - Lovable Coward: Less of a coward than Chicó, but he's called "yellow" just as often as his friend when the tables turn against them, especially since a lot of his quick thinking is used to get them both out of a bad situation.
- Seven Deadly Sins: Associated with Envy because of his tendency to try and make things go easier for himself and Chicó through his trickery, feeling he's entitled to a better life as he's repeatedly abused by people who are much better off than him. To his credit, he's grown in poverty and lived a life of strife and suffering while surrounded by selfish, greedy people, so it's hard not to see his side of the argument.
- Take This Job and Shove It: When Eurico finally fires him and Chicó, he lets his ex-boss have it on how much he and his wife mistreated them and, to add insult to injury, sneaks in one more plan to at least keep some money for their troubles.
Chicó
Played by: Selton Mello
"I dunno. But so it was."
João's best friend and con partner. Less of a quick-thinker than his friend, he's a teller of tall-tales and first-class coward who has fallen in love with the daughter of a military major and wants to look braver so he'll impress her.
- Animal Motifs: Donkeys. There are plenty of scenes focusing on him that have jackasses in the background, and even his laugh is a dopey one that sounds like a donkey braying. There is also the simple fact that, in Brazil, donkeys are associated with idiocy and slowness, and Chicó isn't exactly the brightest of the bunch.
- Cowardly Lion: He's often called "yellow" for his cowardice and João has to drag him into being part of his ideas most of the time, but he sticks to the script until the very end, every time. Even standing under bandits' guns, he won't run away without his best friend, and will at least go back to the major empty-handed to keep his promise even if it ends with him losing a bit of his own skin. This trope is why Rosinha falls in love with him despite knowing he's a wimp all along.
- Heterosexual Life-Partners: With João, never apart from his friend and his schemes.
- Leitmotif: "Régia", a calmer theme that plays whenever Chicó starts telling his ludicrous stories.
- Lovable Coward: He's known all over Taperoá as a coward that runs away at the slightest opposition, but it's hard to truly dislike him as he's at least friendly and just trying to get by.
- Not with Them for the Money: His love for Rosinha, assuming the contract he made with her father went through, would greatly benefit him and João monetarily, but Chicó's biggest concern eventually becomes Rosinha alone, money be damned, even if he thinks he's not good enough for her.
- Seven Deadly Sins: Sloth, mostly due to being a passive agent in most of João Grilo's plans and being a dullard to the point where things just happen around him.
- Sleeping with the Boss's Wife: Before he met Rosinha, Chicó was one of Dora's suitors that she pulled into her bedroom after tricking her husband into chasing a false lead far away from home.
- Tall Tale: Loves to tell absurd stories about his hunting adventures and encounters with mythical creatures from folklore, which often gets people annoyed at how much he talks for just a little story.
Eurico
Played by: Diogo Vilela
"Help and money are two things ya don't say no to."
The local baker, a stingy man with more affection for those who pay him than with his own employees. Lives at the bakery in a miserable marriage with a wife that repeatedly cheats on him but he can't just let go of.
- Animal Motif: A stubborn old bull that gets angry and defensive about anything that challenges his masculinity, especially the infidelity of his wife. The bull motif is also brought up for the symbolism of Cuckold Horns.
- Bad Boss: Treats the visiting major with respect and brown-nosing, then turns right around and barks orders at João and Chicó like they're not worth his time, feeding them less than what he feeds to the dog. As one of João's later schemes shows, if he was sick with something contagious, Eurico would leave Chicó to his luck with not a penny to his name.
- Cuckold: Dora, his wife, is a serial adulterer who loves herself many of the angry men that come into her life (as well as Chicó for a brief period) and repeatedly finds ways to cover her tracks while making him look like the asshole of the relationship.
- The Ditz: You'd wonder how this man managed to keep his business and his marriage going despite how much he lacks in brainpower. João can trick him easily, and he even at one points gestures to himself saying he isn't stupid... with a LOADED GUN.
- Dying Declaration of Love: Right before their deaths, Eurico and Dora declare their true love for each other and manage to rekindle the flame they once had. Eurico is also the one who takes the initiative and tells their shooter, almost in defiance, to take their life as one.
- Earn Your Happy Ending: On top of dying together with his wife, João's plea to Jesus Christ manages to have the two sent to Purgatory instead of spending eternity in Hell.
- Extreme Doormat: To his wife, who repeatedly cheats on Eurico yet still manages to lord herself over him and make him look like the one having the affair to the public.
- Leitmotif: Shares one with Dora.
- Seven Deadly Sins: Greed. He's a stingy, self-aggrandizing baker who treats his workers like crap and prostrates himself before higher authority so he'll hopefully get an extra dime out of them for himself and his business.
- Together in Death: Eurico demands their shooter kill him and his wife together so they won't be separated when they're sent to the afterlife.
Dora
Played by: Denise Fraga
"I love me a tough man..."
The baker's wife, a serial adulterer who sleeps with several different men behind her husband's back. Equally as rotten as Eurico, she cares more for her dog than the hired hand, unless she likes how they look for a while.
- All Girls Want Bad Boys: Basically her main kink is to have a stronger, larger man shake her and act like they own the house, because she's projecting her husband onto other men, trying to cut her ties with him and being totally unable to.
- Animal Motifs: Her wile and tempting nature, especially when she's using her charm on her husband to trick him, is deliberately played like a cat scratching and meowing at the door to get inside.
- Bad Boss: She's not at all better than her husband when it comes to the hired hand, especially notable with her inviting Chicó into the bedroom when they start working for them, only to twist the knife when it's convenient for her and she's already lost interest in Chicó by that point, joining her husband in firing and berating him and João Grilo. Not to mention, as João himself says, he spent three days bedridden and sick while the dog was demanded blessing and attention from the Priest.
- Bedroom Adultery Scene: Played for Laughs and extended, as first she has to hide Chicó from another suitor, and then has to hide THAT suitor from her husband who just arrived. Eurico never suspects a thing.
- Dying Declaration of Love: Confesses to Eurico before their deaths that cheating was her way to let go of him slowly so she wouldn't lose him at once immediately. Forgiven, and their love finally rekindled, he demands to die together with her so they won't be alone ever again.
- Earn Your Happy Ending: Dies with her husband after declaring she truly loves him, then manages to be sent to Purgatory after João makes a plea in their favor.
- Ironic Echo: Her quote above is what she says when she's getting excited over seeing a strong man show their power over her. She also says it a lot more fearfully when it's the Devil doing it.
- Leitmotif "Rói-Couro", a comedic tone that plays during her many affairs.
- Seven Deadly Sins: Lust, in spades. She's a temptress who invites several men to her bedroom while her husband is away, then uses the same wiles to make him look like the guilty party in front of others without ever stopping, and she'll gladly leave those men to their luck if it favors her.
The Priest
Played by: Rogério Cardoso
"Blessing a mill is one thing, everybody does that. But I've never heard of blessing a bitch!"
The priest of the local church. Despite wearing the cassock and leading the prayers, his servitude is more focused on other kinds of "higher power" that benefit him.
- Earn Your Happy Ending: João Grilo's plea manages to save him from Hell and send him to Purgatory instead.
- Everyone Calls Him "Barkeep": His real name, João, isn't used as often. People just refer to him as Father.
- Everyone Has Standards: Played with. He actually did object to giving the dog a Latin burial like a person, but changed his tune when João told him he'd receive money from the dog's "will".
- One-Steve Limit: Averted, his name is also João.
- Professional Butt-Kisser: Sings the praises of the Major and excuses his own corruption whenever it refers to the stuff he does for him, only to lord himself saintly over the poor and unfortunate. He sure cares a lot about money for someone who supposedly collects it for the church.
- Redemption Equals Death: At his final hour, he finally realizes his humbleness before God and reiterates to the Bishop, his superior, that they're only followers of God's creed. In death, while still not fully over his prejudices and superiority complex, he's at least realized he is no better than anyone just because he's a holy man.
- Seven Deadly Sins: While greed factors into his motivations, Pride is what truly surrounds him, as a self-serving holy man who sees himself as inherently more important despite being openly submissive to the Major and his superior the Bishop.
- Sinister Minister: Downplayed. He's not murderous or all that evil, but he's certainly corrupt and self-serving, focusing more on money than the well-being of the people who frequent the church.
The Bishop
Played by: Lima Duarte
"As for YOU, Mr. João Grilo, you shall RUE your trickery! Pitting the Church against Antônio Morais?!"
The bishop of the local congregation, visiting Taperoá for the upcoming mass. Equally as corrupt as his underling Father João, he gets tangled up in João's story about getting a proper Latin burial for a dog.
- Earn Your Happy Ending: João Grilo's plea saves him from Hell and earns him a spot in Purgatory.
- Everyone Calls Him "Barkeep": Unlike the Priest, we never even hear the Bishop's first name.
- Everyone Has Standards: Again played with. Just like with the Priest, he's outraged at the idea of blessing the burial of a common dog in Latin, then quickly changes his tune when João makes up a lie that the Bishop would earn double the money the Priest earned according to the dog's "will".
- Politically Incorrect Villain: "Villain" is pushing it, but he's shockingly racist for a member of the diocese. At the heavenly trial, Jesus accuses him of having the same negative reaction to His appearance as João Grilo when he admonishes the latter over it, hiding his own shock from the rest.
- Redemption Equals Death: He protests the notion of forgiving the man about to shoot them in their final moments, but the Priest is the one who reminds him, in his own realization, they are merely followers of God, as mortal as any man. The Bishop even directly quotes Jesus Christ's final words in the cross before getting shot. In the trial, while still not fully over the mundane prejudice, he's clearly already far better than he was when he was alive.
- Seven Deadly Sins: Shares the same type of Pride as Father João, as a high-ranking member of the clergy who will gladly subjugate himself to the rich while lording himself over those less fortunate than himself.
- Sinister Minister: Equally as corrupt, greedy and self-aggrandizing as the Priest. Even the Devil accuses him of the exact same crimes.
Rosinha
Played by: Virginia Cavendish
"Pay your promises to Our Lady Virgin Mary... because your wish just came true."
The daughter of Major Antônio Morais, the heiress to the family fortune who just got tasked with getting herself married before leaving for Recife. Chicó himself has developed a crush on her, and as it turns out, the feeling is very much mutual... even if he's not exactly what her father wants.
- Bittersweet Ending: Her father disowns her and sends her, João and Chicó running out of his house, but to her that's fine. She has Chicó and that's all that matters.
- Dating What Daddy Hates: While João makes Chicó come across as a rich man and land owner, Rosinha already knows he's pauper and cowardly, but by that point she's already too enamored with him to stop herself.
- Didn't Think This Through: Her entire plan to marry Chicó and share the money from her inheritance with him and João hinged on the money saved by her grandmother in an old clay piggy bank... except the money is already far out of date and pretty much worthless.
- Exact Words: At the very end, Rosinha pulls this on her father by pointing out he would only carve off Chicó's skin, with nothing on the (written) contract saying he was supposed to bleed.
- Leitmotif: Has two. "Choro Miúdo", a gentle tone that serves as her character theme, while "Embolé" plays for the scenes showing her love for Chicó.
- Satellite Love Interest: Set up as one of these due to her love for Chicó while the story mostly centers on João Grilo, making her look like the typical damsel waiting for her love interest. Then the story subverts it by showing she's just as quick-witted as João and with just as much personality to hold her own against her demanding father.
- Virgin in a White Dress: Loves to wear white, silky dresses that reflect her rich status and apparent innocence. The day before her father disowns her and sends them running, she's wearing a muted cream-colored tone to show she's already hit the dirt metaphorically, even if it's not a bad thing in her case.
Severino de Aracaju
Played by: Marco Nanini
"I DIE BUT I TAKE YOU ALL WITH ME!"
The leader of a horde of Cangaceiros, bandits from Northeast Brazil who pillage and attack towns that refused to give them change. His gang takes a liking to Taperoá, especially after João drove them out of town temporarily with one of his tricks.
- Ax-Crazy: Violent, bloodthirsty and with an itchy trigger finger, ready to kill at a moment's notice.
- Churchgoing Villain: Highly religious, devoted in particular to Father Cicero, a famous religious figure in Northeast Brazil (often referred to by the regional nickname "Padim Ciço"). João uses this to trick him both times.
- Do Not Call Me "Paul": Hates being called "Captain", mostly because it only happens because people only attribute him importance when he's showing off the rifle. After João pretends to "come back to life" in front of him for the first time, claiming Padim Ciço sent him back, he takes to the moniker.
- Easily Forgiven: Killed over 30 people in his lifetime, yet Jesus intervenes in his favor. Justified, however, because Severino is pretty much insane, and not responsible for his own actions.
- Freudian Excuse: His family was gunned down by police while escaping them for a petty crime, right in front of Severino when he was only a child.
- Insanity Defense: Jesus intervenes in his favor directly at the trial, citing a variation of this as the reason for why he's already forgiven; namely, the fact that he was driven mad by his parents dying before his eyes, and was therefore not responsible for his actions.
- Leitmotif: "Severino", a franctic dissonant tone to reflect his Ax-Crazy tendencies.
- Secret Test of Character: Much like actual gangs of Cangaceiros, Severino would pose as a beggar on the streets and ask for change. Since no one in Taperoá could be bothered to give him the time of day, let alone a penny, he considered the town ripe for pillaging in retaliation.
- Seven Deadly Sins: Full, unbridled Wrath at everything and everyone around him that isn't part of his gang.
Major Antônio Morais
Played by: Paulo Goulart
"They say yer a storyteller, opportunist! Full o' tall tales!"
A powerful landowner and military man who owns a farm on the outskirts of Taperoá. Rosinha's father, he's trying to get his daughter engaged to a good husband before she leaves back to Recife, having just hired João Grilo after Eurico let him go.
- Bad Boss: Downplayed. He's rough, menacing and imposing, but there's no outward evidence he treats his workers any worse than someone like Eurico. That being said, João has to rely on a scheme to get money out of him through Chicó and Rosinha's marriage, if not because of the tight time limit until her departure, then clearly because he's also stingy with money (which he is).
- Cut His Heart Out with a Spoon: For some odd reason, he has a habit of threatening people he doesn't like, or anyone who crosses him, with skinning. Or at the very least carving out a piece of their skin with a knife. João in particular pushes for this and invokes it in his favor to solidify the marriage between Chicó and Rosinha.
- The Dreaded: Everyone fears making him mad, since he's the guy with all the money on the land. Even the stray comment that isn't in his favor risks setting him off.
- Flaying Alive: As part of Chicó's arrangement with Rosinha, if he does go through with the marriage without paying back the Major in a week's time, the major will literally carve out a chunk of his skin as payment.
- Leitmotif: "Engenho", a low-toned melody that plays when he's hiring João into his farm.
Minor Characters
Corporal Setenta
Played by: Aramis Trinidade
"If there's one thing I don't like is people who go 'am I right?'. It drives me CRAZY."
An officer of the local military police precinct and one of Dora's go-to lovers, except he's recently fallen in love with Rosinha.
- Cock Fight: Initially with Chicó, as João tricks him into believing, until the two tricksters set him up to a duel with Vincentão instead so they can supposedly hook the winner up with Rosinha. Instead, both skip town in fear.
- Dirty Cop: Downplayed. He doesn't use his position for any major crimes, but he's certainly perfectly fine with murdering a supposed love rival on an open plaza at night if it means there'd be less competition for Rosinha's hand... of course, until it turns into a legitimate stand-off.
- Dirty Coward: João tricks him and Vincentão into a duel with each other over Rosinha's hand, but neither of them can take the pressure and run off screaming. A later scene even states they skipped town for good.
- Duel to the Death: Tricked into a gun stand-off by Chicó and João when they try to woo Rosinha for her hand. It ends with both him and Vincentão booking it.
- His Name Really Is "Barkeep": Translated literally, his name means "Corporal Seventy", as in Corporal #70, the seventieth unit of his squad. Except translations of the play leave Setenta as is, meaning it could actually be his last name.
- The Not-Love Interest: Exists to be this in the end, a pretender to Rosinha's affection who's clearly lusting over her for superficial reasons.
Vincentão
Played by: Bruno Garcia
"Well for me EVERY day's a day to be angry! I WANNA be angry and it's none of your business!"
The town ruffian, a giant of a man often seen carrying a big knife, and one of Dora's many suitors on the side. Except, he's also fallen in love with Rosinha.
- The Brute: Utter brick wall of a man known for his violent temper and always having a knife ready.
- The Bully: Known for picking fights around town with a knife.
- Dirty Coward: He's genuinely scary and violent, but the idea of actually dying isn't that appealing. So when he's tricked into a duel with Corporal Setenta, he hightails it out of town immediately.
- Duel to the Death: Tricked into one with Corporal Setenta, but both men just run off screaming in terror at the idea.
"Cabra"
Played by: Enrique Diaz
"I don't like killin'... I kill, but I don't like it."
Severino's second-in-command within the gang of Cangaceiros harassing Taperoá, a cowardly type that doesn't really enjoy what he does.
- The Dragon: To Severino.
- Everyone Has Standards: Played with. He asks for forgiveness from the Priest and the Bishop before shooting them dead, but when they try to spin it into saving themselves, he backs off.
- Evil Virtues: Loyalty and compassion, even if the latter isn't as well applied as it could be.
- Hero Killer: After gunning down most of the main characters, he finally ends the attack on the city by shooting João Grilo in the back after the latter tricked his boss into killing himself.
- No Name Given: "Cabra" (ram) is a common expression in Northeast Brazil used to refer to men someone has a close alliance to, like a partner or friend. Unlike Corporal Setenta, it's safe to assume we simply never hear the Cangaceiro's real name.
- Spared by the Adaptation: He's killed by João in the original play, but survives long enough to shoot him back. In the movie, João doesn't kill him.
- Undying Loyalty: He doesn't enjoy killing, but he'll still carry out his boss' orders without question, even if he's already dead.
The Court in the Afterlife (UNMARKED SPOILERS)
The Prosecutor
Satan/The Devil
Played by: Luís Mello
"Fear of death alone does NOT redeem any sins!"
The Fallen Angel himself. A fearsome visage who wants nothing more than to send damned souls to Hell so they'll suffer under his watch.
- Amoral Attorney: Zigzagged. The Devil in the play and the movie is given the role of prosecutor in the Court of the Afterlife because he does indeed know the crime committed by each of the main characters under trial, and as much as he's clearly enjoying the prospect of taking as many as he can with him, he does at least put forth the effort as required, and at no point is he wrong with his charges. It's just that, again, he really wants to win.
- The Devil Is a Loser: Besides a group of nameless soul extras that get Dragged Off to Hell in his first fit of rage, none of the main characters end up in Hell themselves and he's basically kicked off the trial empty-handed by the Virgin Mary. And this is after João spends the entire time fearlessly prodding him and calling him names, which he can't fight back against because of Jesus' presence restraining him.
- Dragged Off to Hell: Manages to do this to a bunch of extras that were killed during the attack on Taperoá. Later, enraged at the loss and João's repeated name-calling, he lashes out and tries to drag him off to Hell forcefully before he gazes upon the Virgin's full image, which alone sends him howling through the gate to Hell.
- Glamour Failure: He puts up a mostly-human appearance for the sake of the trial, but getting him angry enough makes him reveal the true beast-like face he hides under the surface. João even deliberately makes him do it when they first meet him so he would bring him down "to their level" as he often does, except it also nearly damns them to Hell.
- Hanging Judge: Takes up the trope far more than the actual judge present, gleefully wanting the defendants to be sent to Hell with him. The only reason he doesn't just do it is because of Jesus' presence ensuring he actually does his job.
- Hobbes Was Right: Firmly believes in this. To him, humans are inherently selfish and will make use of any tool at their disposal to escape the consequences of their actions. He also openly refutes the Virgin Mary's statement that humans require protection and guidance, laughing off the idea that redemption can be achieved even right before death.
- Leitmotif: "Filho de Chocadeira", a menacing, discordant song with emphasis on rattles and long, drawn-out notes.
- Shapeshifter: Capable of this, hiding his true demonic face under a more human one, then later mocking Jesus by taking on His face for a few seconds.Jesus: And you, quit imitating my looks. You know very well you are not equal to God.Satan: Big deal.
- Troll: Takes great pleasure in seeing the defendants squirm in their seats as they await their judgement, even using his own magic to make João start shaking like crazy in his spot until Jesus stops him.
The Judge
Jesus Christ/"Emmanuel"
Played by: Maurício Gonçalves
"Yes, Emmanuel. The Lion of Judah, the Son of David. Come all, for you shall be tried."
The Holy Son, child of God and Mary. He appears before the characters as the fair-minded judge of the trial for their souls.
- Expecting Someone Taller: João is shocked to see that Jesus has black skin when He appears, which the Bishop scolds him for, only to get scolded himself by Jesus, who sees right through the hypocrisy. He even states He chose the form precisely because it would bring in the comments.
- God: His son, but He does point out to João Grilo that people calling him "God" and "Lord" is common enough that He just goes by these names if it pleases them.
- Good Scars, Evil Scars: His hands still have the scars from when He was crucified, which to Him is still a reminder of the one day He felt abandoned.
- Hanging Judge: Averted. He is Jesus Christ, so naturally He would prefer to see the good in people. But as even Satan points out, the reason He's the judge is because Jesus is unfailingly impartial in His judgement.Satan: You're being funny now, but Emmanuel is fair and the situation looks great for me, and bleak for you.
- I Have Many Names: God, Lord, Emmanuel, Jesus Christ, the Son of David, the Lion of Judah...
- Momma's Boy: His impartiality doesn't vanish even when His Mother is attending the trial, but He makes it clear it's not in His interest to go against His Mother in Her decisions.
- Shapeshifter: Implied. He states that He deliberately chose his "current form" because He knew it would incite shock from the defendants.
The Defense
The Virgin Mary/Mary, Mother of Jesus/Mary of Nazareth/The Compassionate
Played by: Fernanda Montenegro
"I plead for these poor souls, My Son... for they have no one. Don't condemn them."
The Compassionate, Virgin Mother of Jesus. João Grilo calls upon Her during the trial to act as their defense attorney, pleading with Her Son to save him and the other characters.
- Character Title: In the play's original Brazilian name, "O Auto da Compadecida", She's the "Compadecida". The events of the story all lead up to Her appearance at the trial.
- Good Lawyers, Good Clients: João invokes the Virgin Mary's help to get through the trial and give them a fighting chance to make their pleas. Thanks to Her interference, they're all spared Hell after she appeals to their virtues and justifications for their flaws.
- Leitmotif: "Mãe dos Homens", a serene melody with a calming, soothing progression.
- Rousseau Was Right: Opposing Satan's viewpoint that humans are inherently selfish, the Virgin Mary believes that humans are born with the propensity for goodness, but are raised in an environment where emotions like fear and doubt lead them to do evil deeds, sometimes unwillingly or unknowingly. She especially draws attention to the human fear of death in face of its inevitability and how, sometimes in the face of death when it does come, it can lead to true redemption and realization of character for those who need it."In the prayer of Ave Maria, men call upon me to pray for them at the time of death... I do. And I look unto them at this hour. And I see that, often, it is when they die... that they finally find what they'd been looking for all their lives."
- Sympathetic P.O.V.: Invokes this as Her main argument as a defense attorney. Essentially, She has the foresight to place Herself in the characters' shoes and bring them closer on a personal level to Herself and Her Son, equating their pain in life to theirs. This is especially notable with João Grilo, who lived in the same dire conditions as She and Jesus once did, something She acknowledges readily when he's already given up hope.
