Character Analysis

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1.List of character traits for all of the characters in your scene. Include outside observations and observations that the character may have about themselves. Use the whole play as the resource. Highlight any identical traits or conflicting/complimentary traits and explain the significance of this activity to your interpretation of the scene.

2. finish the Scene Analysis worksheet.

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PROOF ACT ONE Scene 1 Night. Catherine sits in a chair. She is twenty-five, exhausted, haphazardly dressed. Eyes closed. Robert is standing behind her. He is Catherine's father. Rumpled academic look. Catherine does not know he is there. After a moment: ROBERT. Can't sleep? CATHERINE. Jesus, you scared me. ROBERT. Sorry. CATHERINE. What are you doing here? ROBERT. I thought I'd check up on you. Why aren't you in bed? CATHERINE. Your student is still here. He's up in your study. ROBERT. He can let himself out. CATHERINE. I might as well wait up till he's done. ROBERT. He's not my student anymore. He's teaching now. Bright kid. (Beat.) CATHERINE. What time is it? ROBERT. It's almost one. CATHERINE. Huh. ROBERT. After midnight CATHERINE. So? ROBERT. So: (He indicates something on the table behind him: a bottle of champagne.) Happy birthday. CATHERINE. Dad. ROBERT. Do I ever forget? CATHERINE. Thank you. ROBERT. Twenty-five. I can't believe it. CATHERINE. Neither can I. Should we have it now? 5 all H ago. I resent was her name? ROBERT. It's up to you. CATHERINE. Yes. ROBERT. You want me to open it? CATHERINE. Let me. Last time you opened a bottle of champagne out here you broke a window. t your bringing it up. ROBERT. That was a long time CATHERINE. You're lucky you didn't lose an eye. (She opens the bottle.) ROBERT. Twenty-five! CATHERINE. I feel old. ROBERT. You're a kid. CATHERINE. Glasses? ROBERT. Goddamn it, I forgot the glasses. Do you want me to CATHERINE. Nah. (She drinks from the bottle. A long pull. Robert watches her.) ROBERT. I hope you like it. I wasn't sure what to get you. CATHERINE. This is the worst champagne I have ever tasted. ROBERT. I am proud to say I don't know anything about wines. I hate those kind of people who are always talking about “vintages." CATHERINE. It's not even champagne. ROBERT. The bottle was the right shape. CATHERINE. “Great Lakes Vineyards.” I didn't know they made wine in Wisconsin. ROBERT. A girl who's drinking from the bottle shouldn't complain. Don't guzzle it. It's an elegant beverage. Sip. CATHERINE. (Offering the bottle.) Do you ROBERT. No, go ahead. CATHERINE. You sure? ROBERT. Yeah. It's your birthday. CATHERINE. Happy birthday to me. ROBERT. What are you going to do on your birthday? CATHERINE. Drink this. Have some. ROBERT. No. I hope you're not spending your birthday alone. CATHERINE. I'm not alone. ROBERT. I don't count. CATHERINE. Why not? ROBERT. I'm your old man. Go out with some friends. CATHERINE. Right. ROBERT. Your friends aren't taking you out? CATHERINE. No. ROBERT. Why not? CATHERINE. Because in order for your friends to take you out you generally have to have friends. ROBERT. (Dismissive.) Oh - CATHERINE. It's funny how that works. ROBERT. You have friends. What about that cute blonde, what CATHERINE. What? ROBERT. She lives over on Ellis Avenue you used to spend every minute together. CATHERINE. Cindy Jacobsen? ROBERT. Cindy Jacobsen! CATHERINE. That was in third grade, Dad. Her family moved to Florida in 1983. ROBERT. What about Claire? CATHERINE. She's not my friend, she's my sister. And she's in New York. And I don't like her. ROBERT. I thought she was coming in. CATHERINE. Not till tomorrow. (Beat.) ROBERT. My advice, if you find yourself awake late at night, is to sit down and do some mathematics. CATHERINE. Oh please. ROBERT. We could do some together. CATHERINE. No. ROBERT. Why not? CATHERINE. I can't think of anything worse. You sure you don't want any? ROBERT. Yeah, thanks. You used to love it. CATHERINE. Not anymore. ROBERT. You knew what a prime number was before you could read. CATHERINE. Well now I've forgotten. ROBERT. (Hard.) Don't waste your talent, Catherine. (Beat.) CATHERINE. I knew you'd say something like that. ROBERT. I realize you've had a difficult time. CATHERINE. Thanks. ROBERT. That's not an excuse. Don't be lazy. CATHERINE. I haven't been lazy, I've been taking care of you. ROBERT. Kid, I've seen you. You sleep till noon, you eat junk, you don't work, the dishes pile up in the sink. If you go out it's to buy 6 7. G I F shift N M magazines. You come back with a stack of magazines this high- don't know how you read that crap. And those are the good days. B Some days you don't get up, you don't get out of bed. CATHERINE. Those are the good days. ROBERT. Bullshit. Those days are lost. You threw them And you'll never know what else you threw away with them the work you lost, the ideas you didn't have, discoveries you never made because you were moping in your bed at four in the afternoon, away. thank you. moping and . you lost? (Beat.) You know I'm right. (Beat.) CATHERINE. I've lost a few days. ROBERT. How many? CATHERINE. Oh, I don't know. ROBERT. I bet you do. CATHERINE. What? ROBERT. I bet you count. CATHERINE. Knock it off. ROBERT. Well do you know or don't you? CATHERINE. I don't. ROBERT. Of course you do. How do. How many days have CATHERINE. A month. Around a month. ROBERT. Exactly. CATHERINE. Goddamn it, I don't - ROBERT. HOW MANY? CATHERINE. Thirty-three days. ROBERT. Exactly? CATHERINE. I don't know. ROBERT. Be precise, for Chrissake. CATHERINE. I slept till noon today. ROBERT. Call it thirty-three and a quarter days. CATHERINE. Yes, all right. ROBERT. You're kidding! CATHERINE. No. ROBERT. Amazing number! CATHERINE. It's a depressing fucking number . ROBERT. Catherine, if every day you say you've lost were a year, it would be a very interesting fucking number. CATHERINE. Thirty-three and a quarter years is not interesting. ROBERT. Stop it. You know exactly what I mean. CATHERINE. (Conceding.) 1,729 weeks. ROBERT. 1,729. Great number. The smallest number expressible CATHERINE. — expressible as the sum of two cubes in two dif- ferent ways. ROBERT. Twelve cubed plus one cubed equals 1,729. CATHERINE. And ten cubed plus nine cubed. Yes, we've got it, ROBERT. You see? Even your get to work. The kind of potential you have - CATHERINE. I haven't done anything good. ROBERT. You're young. You've got time. CATHERINE. I do? ROBERT. Yes. CATHERINE. By the time you were my age you were famous. ROBERT. By the time I was your age rd already done my best work. (Beat.) CATHERINE. What about after? ROBERT. After what? CATHERINE. After you got sick. ROBERT. What about it? CATHERINE. You couldn't work then. ROBERT. No, if anything I was sharper. CATHERINE. (She can't help it; she laughs.) Dad. ROBERT. I was. Hey, it's true. The clarity — that was the amazing thing. No doubts. CATHERINE. You were happy? ROBERT. Yeah, I was busy. CATHERINE. Not the same thing. ROBERT. I don't see the difference. I knew what I wanted to do and I did it. If I wanted to work a problem all day long, I did it. If I wanted to look for information secrets, complex and tantalizing messages — I could find them all around me: in the air. In a pile of fallen leaves some neighbor raked together. In box scores in the paper, written in the steam coming up off a cup of coffee. The whole world was talking to me. If I just wanted to close my eyes, sit quietly on the porch and listen for the messages, I did that. It was wonderful. (Beat.) CATHERINE. How old were you? When it started. ROBERT. Mid-twenties. Twenty-three, four. (Beat.) Is that what you're worried about? - ATHE showe INC 8 9 2 Y U T return к J H Lift nothing, Catherine. CATHERINE. I've thought about it. ROBERT. Just getting a year older means CATHERINE. It's not just getting older. ROBERT. It's me. (Beat.) CATHERINE. I've thought about it. ROBERT. Really? CATHERINE. How could I not? ROBERT. Well if that's why you're worried you're not with the medical literature. There are all kinds of factors. It's not keeping up simply something you inherit. Just because I went bughouse doesn't mean you will . CATHERINE. Dad ... ROBERT. Listen to me. Life changes fast in your early twenties and it shakes you up. You're feeling down. It's been a bad week. You've had a lousy couple years, no one knows that better than me. But you're gonna be okay. CATHERINE. Yeah? ROBERT. Yes. I promise you. Push yourself. Don't read so many magazines. Sit down and get the machinery going and I swear to God you'll feel fine. The simple fact that we can talk about this together is a good sign. CATHERINE. A good sign? ROBERT. Yes! CATHERINE. How could it be a good sign? ROBERT. Because! Crazy people don't sit around wondering if they're nuts. CATHERINE. They don't? ROBERT. Of course not. They've got better things to do. Take it from me. A very good sign that you're crazy is an inability to ask the question, “Am I crazy?" CATHERINE. Even if the answer is yes? ROBERT. Crazy people don't ask. You see? CATHERINE. Yes. ROBERT. So if you're asking ... CATHERINE. I'm not. ROBERT. But if you were, it would be a very good sign. CATHERINE. A good sign. ROBERT. A good sign that you're fine. CATHERINE. Right. ROBERT. You see? You've just gotta think these things through. Now come on, what do you say? Let's call it a night, you go up, get some sleep, and then in the morning you can CATHERINE. Wait. No. ROBERT. What's the matter? CATHERINE. It doesn't work. ROBERT. Why not? CATHERINE. It doesn't make sense. ROBERT. Sure it does. CATHERINE. No. ROBERT. Where's the problem? CATHERINE. The problem is you are crazy! ROBERT. What difference does that make? CATHERINE. You admitted - You just told me that you are. ROBERT. So? CATHERINE. You said a crazy person would never admit that. ROBERT. Yeah, but it's ... oh. I see. CATHERINE. So? ROBERT. It's a point. CATHERINE. So how can you admit it? ROBERT. Well. Because I'm also dead. (Beat.) Aren't I? CATHERINE. You died a week ago. ROBERT. Heart failure. Quick. The funeral's tomorrow. CATHERINE. That's why Claire's flying in from New York. ROBERT. Yes. CATHERINE. You're sitting here. You're giving me advice. You brought me champagne. ROBERT. Yes. (Beat.) CATHERINE. Which means ... ROBERT. For you? CATHERINE. Yes. ROBERT. For you, Catherine, my daughter, who I love very much ... It could be a bad sign. (They sit together for a moment. Noise off. Hal enters, twenty-eight, semi-hip clothes. He carries a backpack and a jacket, folded. He lets the door go and it bangs shut. Catherine sits up with a jolt.) CATHERINE. What? HAL. Oh, God, sorry Did I wake you? CATHERINE. What? HAL. Were you asleep? (Beat. Robert is gone.) CATHERINE. You scared me, for Chrissake. What are you doing? AIR 10 11 4 3 P 2 O U enter Y R T return к I didn't realize it had gotten so late. I'm done for H G shift the night. order I don't have to work here. I could take some stuff home, read it, bring it back. CATHERINE. No. HAL. I'll be careful. CATHERINE. Good. HAL. Drinking alone? (She realizes she is holding the champagne bottle. She puts it down quickly.) CATHERINE. Yes. HAL. Champagne, huh? CATHERINE. Yes. HAL. Celebrating? CATHERINE. No. I just like champagne. HAL. It's festive. CATHERINE. What? HAL. Festive. (He makes an awkward “party” gesture.) CATHERINE. Do you want some? HAL. Sure. CATHERINE. (Gives him the bottle.) I'm done. You can take the rest with you. HAL. Oh. No thanks. CATHERINE. Take it, I'm done. HAL. No, I shouldn't. I'm driving. (Beat.) Well. I can let myself out. CATHERINE. Good. HAL. When should I come back? CATHERINE. Come back? HAL. Yeah. I'm nowhere near finished. Maybe tomorrow? CATHERINE. We have a funeral tomorrow. HAL. God, you're right, I'm sorry. I was going to attend, if that's CATHERINE. My father wouldn't want anything moved and I don't want anything to leave this house. HAL. Then I should work here. I'll stay out of the way. CATHERINE. You're wasting your time. HAL. Someone needs to go through your dad's papers. CATHERINE. There's nothing up there. It's garbage. HAL. There are a hundred and three notebooks. CATHERINE. I've looked at those. It's gibberish. HAL. Someone should read them. CATHERINE. He was crazy. HAL. Yes, but he wrote them. CATHERINE. He was a graphomaniac, Harold. Do you know what that is? HAL. I know. He wrote compulsively. Call me Hal. CATHERINE. There's no connection between the ideas. There's no ideas. It's like a monkey at a typewriter. One hundred and three notebooks full of bullshit. HAL. Let's make sure they're bullshit. CATHERINE. I'm sure. HAL. I'm prepared to look at every page. Are you? ? CATHERINE. No. I'M not crazy. (Beat.) HAL. Well, I'm gonna be late ... ... Some friends of mine are in this band. They're playing at a bar up on Diversey. Way down the bill, they're probably going on around two, two-thirty. I said I'd be there. CATHERINE. Great. HAL. They're all in the math department. They're really good. They have this great song, you'd like it, called "i" — lowercase I. They just stand there and don't play anything for three minutes. CATHERINE. "Imaginary Number." HAL. It's a math joke. You see why they're way down the bill. CATHERINE. Long drive to see some nerds in a band. HAL. God I hate when people say that. It is not that long a drive. CATHERINE. So they are nerds. HAL. Oh they're raging geeks. But they're geeks who, you know, can dress themselves ... hold down a job at a major university ... all right. CATHERINE. Yes. HAL. What about Sunday? Will you be around? ? CATHERINE. You've had three days. HAL. I'd love to get in some more time up there. CATHERINE. How much longer do you need? HAL. Another week. At least. CATHERINE. Are you joking? HAL. No. Do you know how much stuff there is? CATHERINE. A week? HAL. I know you don't need anybody in your hair right now. Look, I spent the last couple days getting everything sorted out. It's mostly notebooks. He dated them all; now that I've got them in 12 13
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Character booth
According to the writer, booth is considered to be the younger brother to kinks. He has
aspirations that range from different corners, but he believes that one day he wills that from
becoming a three card Monte master according to the kind of efforts and addiction that he had
for cards. He targets and spends most of his time shoplifting and in an awkward way doing some
serious practice to the hustle of cards while he is chasing his ambition that one day he will
become master joker despite the many goals that he has in store. He has had more frustrations,
romantic frustrations that he does discuss along to his brother. Booth is easily swayed by his
emotional impulses in the whole playwright. He is a fighter, he reacts violently to any kind of
frustration that he gets or any kind of intimidation rom any side.
Character of Lincoln
Being good in monte describes Lincoln. Unreasonable Frustrations followed after his friend’s
burial and he ended up giving up the all routine that he had. I would say that he is not strong to
some extent. He also has experienced love romantic frustrations. What doesn’t work for him the
many dreams that he has come to him over and over again without being fulfilled. This does
discourage him and makes it feel awkward and feel like a failure. What doesn’t stop coming to
his mind is the fact that his parents did abandon him when he was very young and he had to
survive all along. His patience gives him a place to work and leave Monte. He is courageous and
a well up man

.

Three things:
The entire family of the characters
The whereabouts of their mother
The final life or destination that they all got in life
Is the story real?
The story seems real. It explains the vanishing of the family; I mean the end of the family. It all
starts wi...


Anonymous
Just what I was looking for! Super helpful.

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