Proctor sparks the audience’s fury, instantaneously increasing the tension as, ‘without warning or hesitation, Proctor Leaps at Abigail and, grabbing her by the hair pulls her to her feet. She screams in pain.’ To further worsen his case, Proctor is heard above Hawthorne and Parris’ calls, with his ‘roaring voice,’ although, this relieves a little of the tension as it is the only thing that can be distinguished above the cacophony. In his furtive desperation, Proctor becomes somewhat less articulate, exclaiming, ‘How do you call Heaven! Whore! Whore!’ Perhaps this is a result of shock, or maybe he is trying to get a point across as quickly as possible? The tension grows as the audience can tell what is impending, after Proctor, ‘breathless’ cuts Danforth off; ‘Man! What do you – it is a whore!’ It is clear Danforth will demand proof of this- ironic, considering he is content to condemn ‘witches’ with no such proof – and to provide evidence, Proctor will have to admit to a sin, damaging his Puritan reputation, meaning Danforth may not trust him if he believes he has committed crimes against God. Proctor is now weakening; ‘trembling, his life collapsing about him, as he admit, ‘I have known her Sir. I have known her.’ The audience tense up as the ‘strongest’ character has been broken – is there any hope left for the innocent? Danforth replies with an abrupt, inquisitive sentence, even pausing with disbelief; ‘You- you are a lecher?’ Danforth’s reaction could provide some hope for the audience, as they believe that like Proctor, ‘A man will not cast away his good name. You surely know that?’
Proctor’s revelation has clearly shaken Abigail, as she frantically resorts to threats again; ‘If I must answer that, I will leave and I will not come back again.’ Danforth’s silence unnerves her further, so she attempts to intimidate him, she ‘steps up,’ to him. ‘What look do you give me? I’ll have no such looks!’ leaves Danforth momentarily speechless, before he reasserts his authority; ‘You will remain where you are!’ This change of tone, accompanied by him speaking ‘sharply to Parris,’ gives some relief to the audience. Miller has cleverly caused the audience to forget Danforth’s ulterior motives.
The Marshall entering with Elizabeth is effectively a break in the scene; the audience have been tense awaiting her arrival; will she be truthful, and expose Proctor’s sins, or will she attempt to save him and thereby jeopardise the whole argument? Danforth asks Proctor and Abigail to turn their backs, so Elizabeth cannot communicate with either of them through eye-contact, something which the audience were desperately hoping would happen. Danforth uses imperatives to order Abigail and Proctor, demonstrating his authority; his verdict is effectively the only one that counts; anyone who disagrees with him risks being charged themselves.
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