 |
Mechanics: Bedlam in the Boudoir! |
| Updated: Mar 20, 2005 |
Here are the nitpicky details for running the scenario.
SPOILER ALERT!
The information below is intended for the people in charge of running it.
If this doesn't apply to you, you may go back now.
But if it does, you're encouraged to read all of it.
CONTENTS
> Preparation (fencer placement, DFB)
> Crew
> Progression
> Husband: armament and behavior
> Wife: armament and behavior
> Narration
> Handling exceptional situations
> The Town Guard
> Scoring
Preparation
"The cast in order of appearance..."
It is a good idea to survey the fencers. Rank the fencers by role-playing confidence and fencing skill, giving more weight to the former.
Death From Behind (DFB)
Ask if there are any fencers who do not want to (or are not allowed to) use DFB. If so, keep this in mind when such a fencer plays the Wife.
Crew
| * | Narrator — Does all of the talking. Field or court heraldry experience is recommended. |
| * | Marshal — Oversees the safety of the combat. |
| * | Scorekeeper — Might do recording only. Can help evaluate audience reaction. |
One person CAN do all of the above, but it's easier with capable assistants. Believe it.
The Scorekeeper records the number of points the Paramour earns after each scene. It's also good to note who else performed well during the scene and maybe a keyword or two for the Narrator to use to help jog people's memory when it comes time to determine the best performances.
Having actual people for the Town Guard (more on this later) is optional. If you have a couple of people who want to use "polearms" that you can trust NOT to make any contact with the fencers, great!
Progression
Say you've got seven fencers, A-G, ranked high to low by role playing confidence and fencing ability. To give the first Act a great start as WELL as have a great finish, the order of scenes could be something like this:
| Scene |
Husband |
Wife |
Paramour |
|
1 |
C |
B |
A |
|
2 |
D |
C |
B |
|
3 |
E |
D |
C |
|
4 |
F |
E |
D |
|
5 |
G |
F |
E |
|
6 |
A |
G |
F |
|
7 |
B |
A |
G |
If time permits, you could run them through again ("And now, appearing
in Act II -") but in a different order so that each Paramour faces a new opponent
as the Husband. One example sequence is E,B,F,C,G,D,A. This puts A as the Paramour last for
a big finish in the last three scenes, with B and C (also good role players) evenly spaced in
the middle. You might want to re-order fencers if they over- or under-estimated their ability
at role playing.
| Scene |
Husband |
Wife |
Paramour |
|
1 |
F |
B |
E |
|
2 |
C |
F |
B |
|
3 |
G |
C |
F |
|
4 |
D |
G |
C |
|
5 |
A |
D |
G |
|
6 |
E |
A |
D |
|
7 |
B |
E |
A |
Husband: armament and behavior
Before each scene, roll a ten-sided die (d10) and consult the table below.
Roll |
Style | Yield? | Spare? | Other |
|
1 |
dagger | yes | no | chastise Wife |
|
2 |
dagger | yes | yes | |
|
3 |
dagger | no | maybe | splutter and whine |
|
4 |
rapier | yes | yes | aim for limbs |
|
5 |
rapier | no | no | chastise wife |
|
6 |
rapier | yes, if leg wound | maybe | focus on defense |
|
7 |
rapier & parry | no | yes | splutter and whine |
|
8 |
rapier & parry | yes, if leg wound | no | aim for limbs |
|
9 |
rapier & dagger | no | maybe | |
|
0 |
any that is allowed | no | no | be devious |
If you don't have a d10, pick a random number from 1 to 5 in your head. Have the fencer playing the Husband pick a number from 1 to 10. Add the two numbers. If the total is more than ten, subtract ten to generate the result. Example: your random number is 2. Fencer picks 9. You add two to get 11. Subtract ten, the result is one.
If you know your fencers, you might get a result that you know just won't work (or was just done in the last scene). In that case, pick whatever will make a better scene for the Paramour.
Wife: armament and behavior
Same procedure as for the Husband. The Wife has a dagger hidden for protection but is NOT a trained combatant. If the Paramour is foolhardy enough to have travelled unarmed, the Wife may offer "him" the dagger only if she sides with the Paramour. No matter what, the Wife should try to stay alive.
|
Roll |
Side with |
Action | Notes |
| 1 |
Paramour |
Vocal distraction. Blanket too if available. |
Stay well out of range. You may throw the blanket ONCE during the scene. Then hide behind the Paramour. If the Paramour tries to yield, plead with your husband to spare his life. Promise anything. |
| 2-3 |
Paramour |
Vocal distraction only. | If the Paramour tries to yield, you're frozen scared. Do what your husband commands. |
| 4 |
Paramour |
Just stay alive and out of the way. |
If the Paramour tries to yield, plead for your husband to spare his life. Promise anything. |
| 5-7 |
Husband |
As soon as combat begins, scream and try to run out. | You'll come back with the "Town Guard" in about 30 seconds (if the combat lasts that long). |
| 8 |
Husband |
Vocal distraction only. |
If someone yields, you're frozen scared. Do what the winner commands. |
| 9 |
Husband |
Vocal distraction. Blanket too if available. |
Stay well out of range. You may throw the blanket ONCE during the scene. Then hide behind your husband. |
| 0 |
Husband |
Use your dagger to distract the Paramour. But if you can get behind him unnoticed, slay him (if DFB is allowed). | If the Paramour is truly outmatched, ignore the dagger. Though if the Paramour yields, you could, to your Husband, offer to slay him yourself! |
Like you did with the Husband, if the random result won't work (or was just done), just pick one that will work better.
OTHER NEAT IDEAS
Doll or stuffed animal for a "baby" (credit: MG).
Narration
When I ran this scenario, here's the patter I used...
"In Act (1), Scene (1), we have (X) as the Jealous Husband, (Y) as his Wife, and (Z) as her Paramour!"
"(X) and (Y), Come Roll the Dread Dice of Drama!"
After the dice are rolled and the players are told what their behavior should be...
"The Wife and her Paramour are relaxing on the bed."
After a few seconds, at an entertaining break in the conversation and/or action...
"They hear someone open the door downstairs and come in. It must be her Husband!"
After this, the Narrator doesn't need to say much until the end of the combat/scene - unless they are also serving as the Marshal, like I did...
The Narrator should sum up the action after each scene to help the Scorekeeper and keep the audience informed:
"The Paramour escapes without a scratch and only wounded the Husband!"
"The Paramour escapes, but not before taking a wound from the dying Husband..."
"The Paramour tries to yield — but he's double-crossed by the Wife — who slays him by her own hand!"
"The Paramour tries to yield — but the Jealous Husband kills him anyway!"
"The Paramour and the Jealous Husband die by each other's hands: a common ending to a duel!"
(etc.)
Handling exceptional situations
THE PARAMOUR DOESN'T WANT TO FIGHT
More than likely this will be rare. The Husband should draw his weapons to keep him in the room (this should encourage the Paramour to arm himself!) and order/ask his Wife to summon the Town Guard (see below). If she doesn't side with the Paramour, she'll do just that. Otherwise, she should behave as assigned.
THE PARAMOUR ATTEMPTS TO YIELD
Refer to the assigned behavior for the Husband:
| * | YES — If the Paramour tries to yield... accept. Order him to lay down his weapons. Command your Wife to retrieve them and then to go summon the Town Guard. The Narrator will take it from here. |
| * | NO — If the Paramour tries to yield (with or without bribery)... pretend
to accept. Order him to lay down his weapons. Command your Wife to retrieve them and then to go summon the Town Guard. Then say something loud and dramatic
like NOW DIE, YOU FIEND! and do an exaggerated kill, a very soft thrust or
a long slow draw cut (perhaps with one of the Paramour's weapons!)... but not across the neck — give the defeated Paramour a
chance for a death speech. |
| * | MAYBE — If the Paramour tries to yield... pretend to accept. If the Paramour has not insulted you or your Wife during the scene, treat as YES. Otherwise treat as NO. |
THE PARAMOUR ATTEMPTS BRIBERY
The Paramour offers some "treasure" (virtual bag of coins, etc.). Treat it as a yield — see above. The Jealous Husband will not be moved by a bribe alone.
THE HUSBAND IS WOUNDED — SHOULD HE YIELD?
This was assigned before the combat. This also applies if the Paramour offers the chance.
THE WIFE IS ABOUT TO KILL THE PARAMOUR
This is easiest when the Paramour is unarmed — such as while attempting to yield or having been disarmed. If the wife is behind the Paramour, she should use the standard line, "Dead from behind". If she does make the kill, she can also add something flowery while and/or just after delivering the fatal touch.
IF AN RBG IS FIRED IN THE SCENE
An RBG is a Rubber Band Gun. The "noise" will bring the Town Guard (see below) to investigate in about 20-30 seconds. See below.
The Town Guard
If the Town Guard arrives, the scene ends. The Narrator signals the Marshal, who ends the combat. The Narrator should say something like, "Town Guards come in armed with halberds and ask a few questions. Then they arrest the Paramour and take him away."
If the Paramour yields and the Husband doesn't
kill him, the narrator should say something like,
"Half a minute later, the wife returns. Town Guards come in... "
(the rest as above).
Or... if you have real people for the Guards (woo hoo!), the Narrator should signal the Guards when they are supposed to enter the house. (The Narrator could announce "you hear what might be heavy boots ascending the stairs!") As soon as the Guards are at the bedroom door, the Marshal ends the combat immediately.
Scoring
Here are the points the Paramour can earn:
0 = He died.
1 = He was arrested (wounded or not).
2 = He took a leg wound OR killed the husband.
3 = He walked out, no leg wound. (Husband was disarmed and/or yields.)
4 = He walked out without a wound. (Husband was disarmed and/or yields.)
+1 = He did not bring a rapier.
+1 = He did not bring a rigid parrying item.
Add 0 to 4 points for entertainment by the Paramour
that draws a positive reaction
from the audience.
0 = no effort made
1 = little reaction
2 = good reaction
3 = excellent reaction
4 = superb reaction
Your feedback is most welcome!
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Original page posted: June 21, 2002. Last
tweaked: July 1, 2006.
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]
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