Please Enjoy
the Following Sample
• This sample is an excerpt from a Samuel French
title.
• This sample is for perusal only and may not be
used for performance purposes.
• You may not download, print, or distribute this
excerpt.
• We highly recommend purchasing a copy of
the title before considering for
performance.
For more information about
licensing or purchasing a play or
musical, please visit our websites
www.samuelfrench.com
www.samuelfrench-london.co.uk
Paris
by Clara Mamet
A Samuel French Acting Edition
samuelfrench.com
Copyright © 2012 by Clara Mamet
ALL RIGHTS RESERVED
CAUTION: Professionals and amateurs are hereby warned that PARIS is
subject to a licensing fee. It is fully protected under the copyright laws
of the United States of America, the British Commonwealth, including Canada, and all other countries of the Copyright Union. All rights,
including professional, amateur, motion picture, recitation, lecturing,
public reading, radio broadcasting, television and the rights of translation into foreign languages are strictly reserved. In its present form the
play is dedicated to the reading public only.
The amateur and professional live stage performance rights to PARIS
are controlled exclusively by Samuel French, Inc., and licensing arrangements and performance licenses must be secured well in advance of
presentation. PLEASE NOTE that amateur licensing fees are set upon
application in accordance with your producing circumstances. When
applying for a licensing quotation and a performance license please give
us the number of performances intended, dates of production, your
seating capacity and admission fee. Licensing fees are payable one week
before the opening performance of the play to Samuel French, Inc., at
45 W. 25th Street, New York, NY 10010.
Licensing fee of the required amount must be paid whether the play
is presented for charity or gain and whether or not admission is charged.
Professional/Stock licensing fees quoted upon application to Samuel
French, Inc.
For all other rights than those stipulated above, apply to: Abrams Artists Agency, 275 Seventh Avenue, 26th Floor, New York, NY 10001; attn:
Ron Gwaizda.
Particular emphasis is laid on the question of amateur or professional
readings, permission and terms for which must be secured in writing
from Samuel French, Inc.
Copying from this book in whole or in part is strictly forbidden by
law, and the right of performance is not transferable.
Whenever the play is produced the following notice must appear on
all programs, printing and advertising for the play: “Produced by special
arrangement with Samuel French, Inc.”
Due authorship credit must be given on all programs, printing and
advertising for the play.
ISBN 978-0-573-70068-2
Printed in U.S.A.
#20477
No one shall commit or authorize any act or omission by which the
copyright of, or the right to copyright, this play may be impaired.
No one shall make any changes in this play for the purpose of
production.
Publication of this play does not imply availability for performance.
Both amateurs and professionals considering a production are
strongly advised in their own interests to apply to Samuel French,
Inc., for written permission before starting rehearsals, advertising,
or booking a theatre.
No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form, by any means, now known or yet
to be invented, including mechanical, electronic, photocopying,
recording, videotaping, or otherwise, without the prior written permission of the publisher.
MUSIC USE NOTE
Licensees are solely responsible for obtaining formal written permission
from copyright owners to use copyrighted music in the performance of
this play and are strongly cautioned to do so. If no such permission is
obtained by the licensee, then the licensee must use only original music
that the licensee owns and controls. Licensees are solely responsible and
liable for all music clearances and shall indemnify the copyright owners of
the play and their licensing agent, Samuel French, Inc., against any costs,
expenses, losses and liabilities arising from the use of music by licensees.
IMPORTANT BILLING AND CREDIT
REQUIREMENTS
All producers of PARIS must give credit to the Authors of the Plays in all
programs distributed in connection with performances of the Plays, and
in all instances in which the titles of the Play sappears for the purposes of
advertising, publicizing or otherwise exploiting the Plays and/or productions. The names of the Authors must appear on a separate line on which
no other name appears, immediately following the title and must appear
in size of type not less than fifty percent of the size of the title type.
PARIS opened in a world premiere production on April 13, 2012 at the
Ruskin Group Theatre Company in Santa Monica, California. The evening of the two one acts was produced by John Ruskin, Artistic Director;
Michael Meyers, Managing Director; and Mike Reilly, Production Manager. The production was directed by Paul Sand. The cast was as follows:
DAUGHTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Clara Mamet
FATHER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . John Pirruccello
CHARACTERS
FATHER - A man, late forties-late fifties.
DAUGHTER - A girl, mid teens-mid twenties.
SET
A table and two chairs. There is a coffee pot on top of the table.
FATHER. I woke up this morning, looked out my window
and–
DAUGHTER. Would you like some coffee?
FATHER. What? No. I woke up this morning–
DAUGHTER. I just made it.
FATHER. Can you think of anything more monotonous?
DAUGHTER. Coffee?
FATHER. No, no, not the coffee, I’m telling you I woke up
this morning, looked out my window, and–
DAUGHTER. It’s good coffee – what?
FATHER. What?
DAUGHTER. You woke up this morning, looked out your
window and what?
FATHER. That’s all, that’s what I’m trying to tell you.
Monotony, monotony, monotony, it gets so vastly
monotonous.
DAUGHTER. Well, what happened then?
FATHER. What happened then, what?
DAUGHTER. What happened when you looked out your
window?
FATHER. Nothing, that’s just what I mean.
DAUGHTER. Ah, I see.
FATHER. Since when have you made coffee?
DAUGHTER. I don’t know, I couldn’t sleep.
FATHER. Well, why not?
DAUGHTER. So many reasons.
FATHER. Really?
DAUGHTER. No. A boy.
FATHER. Ah.
DAUGHTER. An idiot boy doesn’t like me.
7
8
PA R I S
FATHER. Well, that’s alright, I’m sure there are many fine
people who don’t like you.
DAUGHTER. I mean he doesn’t love me.
FATHER. Ah. Well then he’s an idiot, as you say.
DAUGHTER. Yes, but you see that’s not the point.
FATHER. Well, how do you know he doesn’t love you?
DAUGHTER. I asked him, he said no.
FATHER. Well again, as you have rightly pointed out, an
idiot.
DAUGHTER. Yes, but oddly that doesn’t seem to help.
FATHER. Ah.
DAUGHTER. So I made a pot of coffee.
FATHER. Did that help?
DAUGHTER. Not particularly.
FATHER. You know my dear, whenever I stumble upon a
fork in the road I always find it helpful to ask myself,
“What would I do?”
DAUGHTER. And what do you tell yourself?
FATHER. It depends on the situation.
DAUGHTER. So what would you tell yourself in this situation?
FATHER. I wouldn’t know all the boys I know are madly in
love with me.
DAUGHTER. I suppose it’s to be expected.
FATHER. Mm.
DAUGHTER. A pretty young thing like you?
FATHER. Yes. You say he doesn’t love you?
DAUGHTER. That’s right.
FATHER. Well, why the hell not?
DAUGHTER. He says he doesn’t want a relationship.
FATHER. Oh. Well then he’s a bigger fool than I thought.
DAUGHTER. What does that mean, “I don’t want a relationship?”
FATHER. It means, “I’m a fool and I don’t like being nice
to women.”
Hungry for More?
This is a Sample of the Script
Buy the full script and explore other titles
www.samuelfrench.com
www.samuelfrench-london.co.uk
Titles are subject to availability depending on your territory.