wife to tell Parris what she has done, and then he vehemently defends her when Parris his horrified by her actions. Putnam argues that there is a "murdering witch among [them]" that has been hiding herself in plain sight. One wonders if he actually believes this to be the case, especially given Giles Corey's later claim that he heard from a man who overheard Putnam say that his daughter gave him "a fair gift of land" when she accused George Jacobs of witchcraft. Does he agree with his wife that there really is a witch, or does he simply see an opportunity to get some of his personal enemies out of the way?

Come to think, that would be another dialogue the audience might like to hear. Did Putnam really say this? Is he really a murderer? Or, does the man who reported that he said this simply have it out for him because he is so disliked in the community?  

Miller does not give an extensive voice to the accused. Rebecca Nurse and John Proctor are given a voice throughout the play, but Miller could add additional dialogue to the characters of Martha Corey, Goody Osborn, and Sarah Good. Despite being considered social outcasts in Salem, Goody Osborn and Sarah Good's dialogue between the judges would provide additional insight into how the court functions. Also, there are gaps of silence between Giles Corey and his wife, Martha. The audience is aware that Giles feels extremely guilty for casting suspicion upon his wife, but there is no dialogue between the couple to give insight into their relationship. Miller could also provide dialogue between the girls who are under Abigail's control and accuse innocent citizens of witchcraft. Other than Mary Warren, these characters are never witnessed interacting with other characters away from Abigail. There is no dialogue between the girls to provide insight into their thought process and relationships with other community members of Salem.

Certainly there could be more dialogue between John Proctor and Abigail. Her obsession with him and her willingness to destroy his wife to try and create a life with him has very rich dramatic potential, but the play does not offer a great deal of dialogue between them. This seems especially important since their connection underscores the nature of the petty, juvenile emotions that motivated the accusers. Jealousy or hurt feelings over being spurned by a lover are portrayed as sufficient reason to accuse neighbors of witchcraft and condemn them to public excoriation and execution. Along these lines, more dialogue among the young women revealing their petty jealousies and crushes could show how ironic their power and influence was. The film adaptation by Nicolas Hytner does explore this material somewhat further.

Act II, Scene 2 is often deleted when the play is performed. It is usually available as an appendix to printed copies, and Arthur Miller reinserted it when he wrote the screenplay for the 1996 film version. In the scene, John Proctor and Abigail Williams meet under cover of darkness in the woods outside town. Proctor has come to try to determine for himself what Abigail's state of mind is and perhaps whether he can reason with her to get her to recant her accusations. Unfortunately, Abigail is either so deeply delusional or so bent on the destruction of her enemies that Proctor has no ability to prevent her from continuing her reign of terror.

Proctor is waiting in the woods for Abigail to appear at the opening of the scene. This would be an appropriate time and place for him to deliver a monologue. He could speak of his shame over his sin, his determination to stop Abby, his love for his wife and family, or his lack of confidence that justice can prevail in Salem.

There is an opening scene between John and Elizabeth in Act II that would lend itself to monologue. John, who has been outside working on the farm, comes into the kitchen to speak with Elizabeth. It is during this scene that we find out about John's adultery with Abigail. During John and Elizabeth's conversation, there are pauses that show the tension between them. A monologue from either character would be interesting at this point in the play. We know what they say to each other--an argument develops--but what might each character be thinking and feeling that he or she does not say out loud?

There are so many creative ways you could write a monologue about a gap or silence in the book. I think it'd be really interesting to write a monologue about Arthur Miller's "Echoes Down the Corridor," which is included in the appendix of the play. In this passage, Miller shares about what happens to each character after the play. Miller explains:

"Not long after the fever died, Parris was voted from office, walked out on the highroad, and was never heard of again.

The legend has it that Abigail turned up later as a prostitute in Boston.

Twenty years after the last execution, the government awarded compensation to the victims still living, and to the families of the dead. However, it is evident that some people still were unwilling to admit their total guilt . . . "

This excerpt from the passage tells the supposed fates of important characters such as Parris and Abigail. A monologue could be written from the perspective of Abigail either deciding to run away or even contemplating her fate after running to Boston. Why did she leave town? Was her fate, as a prostitute, better than what she might have faced in Salem? Was she really in danger in Salem after Elizabeth lied?

In review, Abby runs away after Act III. Earlier in the scene John Proctor confesses to the courtroom that he had an affair with Abigail and argues that she probably wants to harm his wife so that she can have John's affections. Elizabeth, who knows the truth about the affair, lies to the courtroom to try to protect John. After she lies, the act concludes with Abigail claiming to see a yellow bird (that she claims Mary Warren bewitched to harm her). A bunch of the other girls claim they can see this invisible bird, too. Weird. This causes chaos in the moment and distracts everyone's attention from pursuing the truth. Abby's decision to run away at this point seems unusual. Didn't it appear like she was winning the court case when she ran away? Didn't Elizabeth deny that John was involved in an affair? What made Abigail so uneasy that she decided to get out of town?

Another option would be to write a monologue from Parris's perspective, perhaps explaining why he is leaving the town at the end of the play. Some questions you could consider in writing from Parris's perspective include:

• Does he ever confess his guilt about his involvement in the Salem Witchcraft Trials? Or, does he deny that he was instrumental in causing so many deaths?
• Did he feel bad for supporting Abigail, his niece, when she was causing trouble in the town?
• Did he ever realize how selfish he was behaving in caring more about his reputation than he did the well-being of his family and friends?
• Does he still think he is a good and worthy Minister, or does he realize how horribly he behaved while in Salem?
• Does he go in search of another job as a minister? Does he maintain his Puritan faith?
• Does he stay in America?
• Does he ever feel a need to apologize to anyone? Who? Why?
• Does he think he should go find Abigail, his niece?
• Does he forgive Abigail? Does he ever get in touch with Abigail, or even other characters in the play?

There are many questions that remain unanswered at the end of the play, allowing for great opportunities for student written monologues.

The Crucibleis often performed with Act Two, Scene 2 omitted, but the scene is sandwiched between Elizabeth Proctor's arrest at the end of Act Two and the first court scene in Act Three.  It is usually attached as an appendix in published versions, and it is inserted in the 1996 film version for which the playwright, Arthur Miller, wrote the screenplay.

In Act Two, Scene 2, John Proctor arranges to meet Abigail Williams in private in the woods, at night.  There are two moments of silence in the scene that are notable.  The first:

Proctor enters with a lantern glowing behind him, then halts, holding lantern raised.  Abigail appears with a wrap over her nightgown, her hair down. A moment of questioning silence.

In their ensuing conversation, John communicates his determination to clear his wife, Elizabeth, of Abigail's accusation of witchcraft, even if it means ruining both his and Abigail's reputation by confessing to their affair.

The second moment of silence in the scene comes at its end when Abigail exits after she tells John "from yourself I will save you."  As the scene ends, 

Proctor is left alone, amazed, in terror. Takes up his lantern and slowly exits.

Here are some examples of silence and gaps from the play The Crucible. 

The most obvious structural gaps are between the acts. For example, there is a linear gap between Acts One and Two. When Act One ends, Abigail and Betty accusing multiple women of witchcraft. Act Two begins eight days later at the home of Elizabeth and John Proctor. Over the preceding eight days, the tension has been building in town because of the accusations of witchcraft. Because of this and John's affair with Abigail, the tensions between Elizabeth and John are also heightened. 

There are many pauses within the acts as well. In Act Four, Hale makes a final effort to persuade Elizabeth to convince John to confess because it will save his life. Some time has passed and John looks different. He feels defeated. He might want to save his life by confessing but he hesitates to sully his own name, one of the few things he has left. There is a silent pause when he is brought in and when he and Elizabeth first see each other: 

A pause. Herrick enters with John Proctor. His wrists are chained. He is another man, bearded, filthy, his eyes misty as though webs had overgrown them. He halts inside the doorway, his eye caught by the sight of Elizabeth. The emotion flowing between them prevents anyone from speaking for an instant.