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The diary of anne frank


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Mr. Frank. I think we couldn't find a better time to use it. Peter, will you get five glasses for me?

[PETER goes for the glasses. MARGOT comes out of her bedroom, carrying her possessions, which she hangs behind a curtain in the main room. MR. FRANK finds the cognac and pours it into the five glasses that PETER brings him. MR. VAN DAAN stands looking on sourly. MRS. VAN DAAN comes downstairs and looks around at all the bustle. ]

Mrs. Van Daan. What's happening? What's going on?

Mr. Van Daan. Someone's moving in with us.

Mrs. Van Daan. In here? You're joking. Margot. It's only for a night or two . . . until Mr. Kraler finds him another place.

22. Dussel.

23. cognac: type of brandy (distilled wine).

367


Mr. Van Daan. Yeah! Yeah!

[MR. FRANK hurries over as MR. KRALER and DUSSEL, come up. DUSSEL is a man in his late fifties, meticulous, finicky ... bewildered now. He wears a raincoat. He carries a briefcase, stuffed full, and a small medicine case.]

Mr. Frank. Come in, Mr. Dussel.

Mr. Kraler. This is Mr. Frank.

Dussel. Mr. Otto Frank?

Mr. Frank. Yes. Let me take your things. (He takes the hat and briefcase, but DUSSEL clings to his medicine case.) This is my wife, Edith ... Mr. and Mrs. Van Daan ... their son, Peter ... and my daughters, Margot and Anne.

[DUSSEL shakes hands with everyone.]

Mr. Kraler. Thank you, Mr. Frank. Thank you all. Mr. Dussel, I leave you in good hands. Oh ... Dirk's coat.

[DUSSEL hurriedly takes off the raincoat, giving it to MR. KRALER. Underneath is his white dentist's jacket, with a yellow Star of David on it.]

Dussel (to MR. KRALER). What can I say to thank you...?

Mrs. Frank (to DUSSEL). Mr. Kraler and Miep . . . They're our lifeline. Without them we couldn't live.

Mr. Kraler. Please. Please. You make us seem very heroic. It isn't that at all. We simply don't like the Nazis. (To MR. FRANK, who offers him a drink) No, thanks. (Then, going on) We don't like their methods. We don't like . . .

Mr. Frank (smiling). I know. I know. "No one's going to tell us Dutchmen what to do with our damn Jews! "

Mr. Kraler (to DUSSEL). Pay no attention to Mr. Frank. I'll be up tomorrow to see that they're treating you right. (To MR. FRANK) Don't trouble to come down again. Peter will bolt the door after me, won't you, Peter?

Peter. Yes, Sir.

Mr. Frank. Thank you, Peter. I'll do it. Mr. Kraler. Good night. Good night. Group. Good night, Mr. Kraler. We'll see you tomorrow. (Etc., etc.)

[MR. KRALER goes out with MR. FRANK. MRS. FRANK gives each one of the "grown-ups" a glass of cognac. ]

Mrs. Frank. Please, Mr. Dussel, sit down.

[DUSSEL sinks into a chair. MRS. FRANK gives him a glass of cognac. ]

Dussel. I'm dreaming. I know it. I can't believe my eyes. Mr. Otto Frank here! (To MRS. FRANK) You're not in Switzerland, then? A woman told me ... She said she'd gone to your house . . the door was open, everything was in disorder dishes in the sink. She said she found a piece of paper in the wastebasket with an address scribbled on it . . . an address in Zurich. 24 She said you must have escaped to Zurich.

Anne. Father put that there purposely . . . just so people would think that very thing!

Dussel. And you've been here all the time?

Mrs. Frank. All the time . . . ever since July.

[ANNE speaks to her father as he comes back.]

Anne. It worked, Pim . . . the address you left! Mr. Dussel says that people believe we escaped to Switzerland.

24. Zurich: Switzerland's largest city. Because Switzerland remained neutral during World War II, many refugees sought safety there.

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Mr. Frank. I'm glad.... And now let's have a little drink to welcome Mr. Dussel. (Before they can drink, DUSSEL bolts his drink. MR. FRANK smiles and raises his glass.) To Mr. Dussel. Welcome. We're very honored to have you with us.

Mrs. Frank. To Mr. Dussel, welcome.

[The VAN DAANs murmur a welcome. The "grown-ups" drink.]

Mrs. Van Daan. Um. That was good.

Mr. Van Daan. Did Mr. Kraler warn you that you won't get much to eat here? You can imagine ... three ration books among the seven of us ... and now you make eight.

[PETER walks away, humiliated. Outside, a street organ is heard dimly. ]

Dussel (rising). Mr. Van Daan, you don't realize what is happening outside that you should warn me of a thing like that. You don't realize what's going on.... (As MR. VAN DAAN starts his characteristic pacing, DUSSEL turns to speak to the others.) Right here in Amsterdam every day hundreds of Jews disappear. . . . They surround a block and search house by house. Children come home from school to find their parents gone. Hundreds are being deported ...25 people that you and I know ... the Hallensteins ... the Wessels ...

Mrs. Frank (in tears). Oh, no. No!

Dussel. They get their call-up notice ... come to the Jewish theater on such and such a day and hour ... bring only what you can carry in a rucksack. And if you refuse the callup notice, then they come and drag you from your home and ship you off to Mauthausen. The death camp!

Mrs. Frank. We didn't know that things had got so much worse.

Dussel. Forgive me for speaking so.

Anne (coming to DUSSEL). Do you know the de Waals? . . . What's become of them? Their daughter Jopie and I are in the same class. Jopie's my best friend.

Dussel. They are gone.

Anne. Gone?

Dussel. With all the others.

Anne. Oh, no. Not Jopie!

[She turns away, in tears. MRS. FRANK motions to MARGOT to comfort her. MARGOT goes to ANNE, putting her arms comfortingly around her.]

Mrs. Van Daan. There were some people called Wagner. They lived near us . . . ?

Mr. Frank (interrupting, with a glance at ANNE). I think we should put this off until later. We all have many questions we want to ask. . . . But I'm sure that Mr. Dussel would like to get settled before supper.

Dussel. Thank you. I would. I brought very little with me.

Mr. Frank (giving him his hat and briefcase). I'm sorry we can't give you a room alone. But I hope you won't be too uncomfortable. We've had to make strict rules here . . . a schedule of hours . . . We'll tell you after supper. Anne, would you like to take Mr. Dussel to his room?

Anne (controlling her tears). If you'll come with me, Mr. Dussel? (She starts for her room.)

Dussel (shaking hands with each in turn). Forgive me if I haven't really expressed my gratitude to all of you. This has been such a shock to me. I'd always thought of myself as Dutch. I was born in Holland. My father was born in Holland, and my grandfather. And now . . . after all these years . . . (He breaks off.) If you'll excuse me.

[DUSSEL gives a little bow and hurries off after ANNE. MR. FRANK and the others are subdued.]

Anne (turning on the light). Well, here we are.

[DUSSEL looks around the room. In the main room MARGOT speaks to her mother.]

25. deported: forcibly sent away (to concentration camps and death camps).

369


Margot. The news sounds pretty bad, doesn't it? It's so different from what Mr. Kraler tells us. Mr. Kraler says things are improving.

Mr. Van Daan. I like it better the way Kraler tells it.

[They resume their occupations, quietly. PETER goes off into his room. In ANNE's room, ANNE turns to DUSSEL.]

Anne. You're going to share the room with me.

Dussel. I'm a man who's always lived alone. I haven't had to adjust myself to others. I hope you'll bear with me until I learn.

Anne. Let me help you. (She takes his briefcase.) Do you always live all alone? Have you no family at all?

Dussel. No one. (He opens his medicine case and spreads his bottles on the dressing table.)

Anne. How dreadful. You must be terribly lonely.

Dussel. I'm used to it.

Anne. I don't think I could ever get used to it. Didn't you even have a pet? A cat, or a dog?

Dussel. I have an allergy for fur-bearing animals. They give me asthma.

Anne. Oh, dear. Peter has a cat.

Dussel. Here? He has it here? Anne. Yes. But we hardly ever see it. He keeps it in his room all the time. I'm sure it will be all right.

Dussel. Let us hope so. (He takes some pills to fortify himself)

Anne. That's Margot's bed, where you're going to sleep. I sleep on the sofa there. (Indicating the clothes hooks on the wall) We cleared these off for your things. (She goes over to the window.) The best part about this room . . . you can look down and see a bit of the street and the canal. There's a houseboat . . . you can see the end of it . . . a bargeman lives there with his family . . . They have a baby and he's just beginning to walk and I'm so afraid he's going to fall into the canal someday. I watch him ....

Dussel (interrupting). Your father spoke of a schedule.

Anne (coming away from the window). Oh, yes. It's mostly about the times we have to be quiet. And times for the w.c. You can use it now if you like.

Dussel (stiffly). No, thank you.

Anne. I suppose you think it's awful, my talking about a thing like that. But you don't know how important it can get to be, especially when you're frightened. . . . About this room, the way Margot and I did . . . she had it to herself in the afternoons for studying, reading. . . lessons, you know . . . and I took the mornings. Would that be all right with you?

Dussel. I'm not at my best in the morning.

Anne. You stay here in the mornings, then. I' take the room in the afternoons.

Dussel. Tell me, when you're in here, what happens to me? Where am I spending my time? In there, with all the people?

Anne. Yes.

Dussel. I see. I see.

Anne. We have supper at half past six.

Dussel (going over to the sofa). Then, if you don't mind . . . I like to lie down quietly for ten minutes before eating. I find it helps the digestion.

Anne. Of course. I hope I'm not going to b too much of a bother to you. I seem to be able to get everyone's back up.

[DUSSEL lies down on the sofa, curled up, his back to her]

Dussel. I always get along very well with children. My patients all bring their children to me because they know I get on well with them. So don't you worry about that.

[ANNE leans over him, taking his hand an shaking it gratefully.]

WORDS TO OWN

fortify v.: strengthen.

370


Anne. Thank you. Thank you, Mr. Dussel.

[The lights dim to darkness. The curtain falls on the scene. ANNE'S voice comes to us, faintly at first and then with increasing power]

Anne's Voice. . . . And yesterday I finished Cissy Van Marxvelt's latest book. I think she is a first-class writer. I shall definitely let my children read her. Monday, the twenty-first of September, nineteen forty-two. Mr. Dussel and I had another battle yesterday. Yes, Mr. Dussel! According to him, nothing, I repeat . . . nothing is right about me . . . my appearance, my character, my manners. While he was going on at me, I thought . . . sometime I'll give you such a smack that you'll fly right up to the ceiling! Why is it that every grown-up thinks he knows the way to bring up children? Particularly the grown-ups that never had any. I keep wishing that Peter was a girl instead of a boy. Then I would have someone to talk to. Margot's a darling, but she takes everything too seriously. To pause for a moment on the subject of Mrs. Van Daan. I must tell you that her attempts to flirt with Father are getting her nowhere. Pim, thank goodness, won't play.

[As she is saying the last lines, the curtain rises on the darkened scene. ANNE'S voice fades out.]

371


MAKING MEANINGS (ACT ONE, SCENES 1-3)

Reading Check

a. What do we learn about the basic situation of the characters in the play from Scene I , before the flashback begins?

b. By the end of Scene 3, we have met all ten characters who appear in the play. List these characters, and choose two or three adjectives to describe each character.

c. When does Anne begin to understand what going into hiding will mean? Describe some of the ways life in the Secret Annex is different from life outside.



First Thoughts

1. What do you think would be the hardest part of life in the Secret Annex: the fear of discovery, the need to keep silent for hours at a time, the sharing of cramped quarters with strangers, or some other aspect? Explain. (If you've been taking notes as you read, look them over for ideas.)



Shaping Interpretations

2. Do Anne and Peter seem to have typical teenage attitudes toward their families? Go back to the text for examples to support your response.

3. List the conflicts that have developed among the characters by the end of Scene 3. Why are these conflicts dangerous for the people in the Secret Annex? What other conflicts do you predict might arise?

4. Compare Mr. Frank's and Mr. Van Daan's reactions to the arrival of Albert Dussel. Which seems like the right way to respond? Why?

5. When the play opens, only months have passed since Otto Frank was freed from Auschwitz. What do you think makes him return to Amsterdam and revisit the place where he and his family were captured by the Nazis? Would you do the same? Explain.

Connecting with the Text

6. If you were going into hiding and could take only as many items as you could carry in a single trip, what would they be? List the contents of your bags, and explain why you chose them.



Extending the Text

7. Mr. Frank tells Anne, "There are no walls, there are no bolts, no locks that anyone can put on your mind" (page 357). What does he mean? Do you agree? Support your opinion with examples from your own experience or knowledge.

372

SCENE 4

It is the middle of the night, several months later. The stage is dark except for a little light which comes through the skylight in PETER's room.

Everyone is in bed. MR. and MRS. FRANK lie on the couch in the main room, which has been pulled out to serve as a makeshift double bed.

MARGOT is sleeping on a mattress on the floor in the main room, behind a curtain stretched across for privacy. The others are all in their accustomed rooms.

From outside we hear two drunken soldiers singing "Lili Marlene." A girl's high giggle is heard. The sound of running feet is heard coming closer and then fading in the distance. Throughout the scene there is the distant sound of airplanes passing overhead.

A match suddenly flares up in the attic. We dimly see MR. VAN DAAN. He is getting his bearings. He comes quickly down the stairs and goes to the cupboard where the food is stored. Again the match flares up, and is as quickly blown out. The dim figure is seen to steal back up the stairs.

There is quiet for a second or two, broken only by the sound of airplanes and running feet on the street below.

Suddenly, out of the silence and the dark, we hear ANNE scream.

373


Anne (screaming). No! No! Don't ... don't take me!

[She moans, tossing and crying in her sleep. The other people wake, terrified. DUSSEL sits up in bed, furious.]

Dussel. Shush! Anne! Anne, for God's sake, shush!

Anne (still in her nightmare). Save me! Save me!

[She screams and screams. DUSSEL gets out of bed, going over to her, trying to wake her]

Dussel. For God's sake! Quiet! Quiet! You want someone to hear?

[In the main room MRS. FRANK grabs a shawl and pulls it around her. She rushes in to ANNE, taking her in her arms. MR. FRANK hurriedly gets up, putting on his overcoat. MARGOT sits up, terrified. PETERS light goes on in his room.]

Mrs. Frank (to ANNE, in her room). Hush, darling, hush. It's all right. It's all right. (Over her shoulder, to DUSSEL) Will you be kind enough to turn on the light, Mr. Dussel? (Back to ANNE) It's nothing, my darling. It was just a dream.

[DUSSEL turns on the light in the bedroom. MRS. FRANK holds ANNE in her arms. Gradually ANNE comes out of her nightmare, still trembling with horror. MR. FRANK comes into the room, and goes quickly to the window, looking out to be sure that no one outside has heard ANNE'S screams. MRS. FRANK holds ANNE, talking softly to her. In the main room MARGOT stands on a chair, turning on the center hanging lamp. A light goes on in the VAN DAANs' room overhead. PETER puts his robe on, coming out of his room.]



Dussel (to MRS. FRANK, blowing his nose). Something must be done about that child, Mrs. Frank. Yelling like that! Who knows but there's

374


somebody on the streets? She's endangering all our lives.

Mrs. Frank. Anne, darling.

Dussel. Every night she twists and turns. I don't sleep. I spend half my night shushing her. And now it's nightmares!

[MARGOT comes to the door of ANNE's room, followed by PETER. MR. FRANK goes to them, indicating that everything is all right. PETER takes MARGOT back.]

Mrs. Frank (to ANNE). You're here, safe, you see? Nothing has happened. (To DUSSEL) Please, Mr. Dussel, go back to bed. She'll be herself in a minute or two. Won't you, Anne?

Dussel (picking up a book and a pillow). Thank you, but I'm going to the w.c. The one place where there's peace!

[He stalks out. MR. VAN DAAN, in underwear and trousers, comes down the stairs.]

Mr. Van Daan (to DUSSEL). What is it? What happened?

Dussel. A nightmare. She was having a nightmare!

Mr. Van Daan. I thought someone was murdering her.

Dussel. Unfortunately, no.

[He goes into the bathroom. MR. VAN DAAN goes back up the stairs. MR. FRANK, in the main room, sends PETER back to his own bedroom.]

Mr. Frank. Thank you, Peter. Go back to bed.

[PETER goes back to his room. MR. FRANK follows him, turning out the light and looking out the window. Then he goes back to the main room, and gets up on a chair, turning out the center hanging lamp. ]

Mrs. Frank (to ANNE). Would you like some water? (ANNE shakes her head.) Was it a very bad dream? Perhaps if you told me ... ?

Anne. I'd rather not talk about it.

Mrs. Frank. Poor darling. Try to sleep, then. I'll sit right here beside you until you fall asleep. (She brings a stool over, sitting there.)

Anne. You don't have to.

Mrs. Frank. But I'd like to stay with you . . . very much. Really.

Anne. I'd rather you didn't.

Mrs. Frank. Good night, then. (She leans down to kiss ANNE. ANNE throws her arm up over her face, turning away. MRS. FRANK, hiding her hurt, kisses ANNE's arm.) You'll be all right? There's nothing that you want?

Anne. Will you please ask Father to come.

Mrs. Frank (after a second). Of course, Anne dear. (She hurries out into the other room. MR. FRANK comes to her as she comes in.) Sie verlangt nach Dir! 1

Mr. Frank (sensing her hurt). Edith, Liebe, schau . . . 2

Mrs. Frank. Es macht nichts! Ich danke dem lieben Herrgott, dass sie sich wenigstens an Dich wendet, wenn sie Trost braucht! Geh hinein, Otto, sie ist ganz hysterisch vor Angst. 3 (As MR. FRANK hesitates) Geh zu ihr. 4 (He looks at her for a second and then goes to get a cup of water for ANNE. MRS. FRANK sinks down on the bed, her face in her hands, trying to keep from sobbing aloud. MARGOT comes over to her, putting her arms around her.) She wants nothing of me. She pulled away when I leaned down to kiss her.

Margot. It's a phase . . . You heard Father . . . Most girls go through it . . . they turn to their fathers at this age . . . they give all their love to their fathers.

Mrs. Frank. You weren't like this. You didn't shut me out.

Margot. She'll get over it. . . .

1. Sic ... Dirl: German for "She's asking for you!"

2. Liebe, schau: "dear, look."

3. Es ... Angst: "It doesn't matter! I thank the dear Lord that she turns at least to you when she needs comfort! Go to her, Otto, she's completely hysterical with fear."

4. Geh zu ihr: "Go to her."

375


[She smooths the bed for MRS. FRANK and sits beside her a moment as MRS. FRANK lies down. In ANNE's room MR. FRANK comes in, sitting down by ANNE. ANNE flings her arms around him, clinging to him. In the distance we hear the sound of ack-ack. ]

Anne. Oh, Pim. I dreamed that they came to get us! The Green Police! They broke down the door and grabbed me and started to drag me out the way they did Jopie.

Mr. Frank. I want you to take this pill.

Anne. What is it?

Mr. Frank. Something to quiet you.

[She takes it and drinks the water. In the main room MARGOT turns out the light and goes back to her bed. ]

Mr. Frank (to ANNE). Do you want me to read to you for a while?

Anne. No. Just sit with me for a minute. Was I awful? Did I yell terribly loud? Do you think anyone outside could have heard?

Mr. Frank. No. No. Lie quietly now. Try to sleep.

Anne. I'm a terrible coward. I'm so disappointed in myself. I think I've conquered my fear . . . I think I'm really grown-up . . . and then something happens . . . and I run to you like a baby. . . . I love you, Father. I don't love anyone but you.

Mr. Frank (reproachfully). Annele!

Anne. It's true. I've been thinking about it for a long time. You're the only one I love.

Mr. Frank. It's fine to hear you tell me that you love me. But I'd be happier if you said you loved your mother as well. . . . She needs your help so much . . . your love . . .

Anne. We have nothing in common. She doesn't understand me. Whenever I try to explain my views on life to her, she asks me if I'm constipated.

Mr. Frank. You hurt her very much just now. She's crying. She's in there crying.

Anne. I can't help it. I only told the truth. I didn't want her here . . . (Then, with sudden change) Oh, Pim, I was horrible, wasn't I? d the worst of it is, I can stand off and look at m - self doing it and know it's cruel and yet I can't stop doing it. What's the matter with me? Tell me. Don't say it's just a phase! Help me.
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