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\def\mytype{Basic Rules}
\lfoot{}\rfoot{}
\newcommand\gamename{A New Deal}
\newcommand\gamedate{August 2002}
\newcommand\aKnockOut{[Knockout attack]}
\newcommand\aWound{[Wound attack]}
\newcommand\aAssist{[Assist]}
\newcommand\aDisarm{[Disarm]}
\newcommand\aRestrain{[Restrain]}


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\begin{center}\LARGE\bf\begin{tabular}{|c|}
  \hline \gamename\\ \gamedate\\ Basic Rules\\ \hline
\end{tabular}\end{center}

\vfill\vfill

The following are the rules for {\em\gamename}, a real-time,
real-space roleplaying game sponsored by the MIT Assassins' Guild.
You are responsible for knowing these rules.  Many of them are
nigh-impossible to enforce and rely upon the honor system.  A game is
supposed to be fun.  It's no fun to win by cheating.  Playing
loopholes in these rules is likewise not permitted.  Play fair.  Be
your own harshest critic.

\vfill

The {\bf gamemasters} ({\bf GMs}) run the game; rulings they make are
final.  They promise to be as fair and reasonable as they can; neither
the GMs nor these rules are perfect.  If you are unsure how to
proceed, if you have any doubt that what you want to do is considered
fair and legal, if you are unhappy about how the game is going, or if
you have any questions, contact a GM.

\vfill

This is only a game.  Everyone involved should act with courtesy,
sportsmanship, patience, and taste.  The game does not give you the
right to do in reality anything normally prohibited by legality or
morality.  The GMs may expel anyone they believe to be violating the
spirit of the rules or the game.  Emotions may run high; if you think
things are crossing the line from game to reality too much, or if you
are just getting too stressed, calm down and maybe take a break.  Stay
in control.  Use common sense.  Always, play safely, then play to have
fun.

\vfill

This game is a work of fiction.  Although it may refer to things in
the real world, it does so only for the sake of the scenario.  It is
not meant to make any sort of political, social, economic, religious,
philosophical, technological, governmental, revolutionary, or
geographic comment and does not represent the GMs' personal opinions.
These rules are modifications of those used in previous games.  This
game and all materials thereof are copyright \the\year\ by Philip Tan
and the MIT Assassins' Guild.

\vfill\vfill

\begin{center}\bf
  BROUGHT TO YOU BY THE MIT ASSASSINS' GUILD \\
  AND 21L.433 FILM STYLES AND GENRES\\
  With thanks to Ken Clary for GameTeX beta 2
\end{center}

\vfill

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\section{Scenario}

``...and that was `Love is Where You Find It,' by Frank Sinatra, from
his latest film. You're tuned into NBC-Chicago, WMAQ. It's 5:05 in
Chicago and time for ``News on the Spot,'' news and interviews
recorded on the street and rushed to our studios for broadcast at this
time. And now, here's Len O'Connor.''

``Today, we bring you an interview with an ordinary man who has had an
extraordinary day. Mr. John Donowitz, a man who runs a hot-dog stand
on the corner of Randolph and LaSalle in the Loop, across from the
Palace Theater and practically underneath the thundering rails of the
`L.' Mr. Donowitz, what can you tell us about your day?''

``'s not much, I pull my cart out around 6 in the morning, so's the
guys heading out to the factories around Lake kin get something for
their boxes. It's not an hour for decent people to be up an' about,
but I've been doing this since the war started in '42, and after
six years, you get used to it.''

``So, what can you tell us about what happened to you this morning?''

``Well, I was comin' round the corner from Madison, when I sees this
black car barrelin' down Clark, right into one of 'em lamp posts.
Made a real big {\bf bam!} and then it was all quiet. The car
wasn't too beat up but the windows were all broke. First thing
I thought, someone's in a real hurry this mornin'. Then I figured,
maybe someone's hurt in there. So I pushed my cart over to that side
of the street.''

``But that wasn't all, was it, Mr. Donowitz?''

``Then, wasn't a minute later, another car comes up in an all-fired
rush, and just darn near rammed into the first car. But they didn't,
and this guy comes out of the car and looks in the windows of the
first one. So I figure, mebbe there was someone still alive in there,
so I shout `You need help?'''

``Then the guy pulls out this gat and fires at me for no good reason,
so I grab my cart and bolt down the street, 'cause he certainly didn't
want me hangin' around there. I just glad he's a lousy shot.''

``That was John Donowitz, giving us a first-hand account of his
dangerous experience this morning, downtown.  Police found the black
car as you have heard Donowitz describe it, empty and with what
appeared to be bullet holes in the body. We managed to get a few words
out from the Police Commissioner in the afternoon.  Commissioner, can
you shed some light on the automobile accident that occurred at Madison
and Clark this morning?''

``It's not complicated. The driver of the car probably had the sun in
his eyes and didn't see the lamp post until he hit it. We're still
investigating the other car. If your listeners know anything, they
should contact the police. Right now...our guess was that it was just
some opportunist who tried to steal something from the damaged car.''

``A witness to the accident said the driver of the second car fired a
gun at him. Some have suggested that this might be some sort of
gangland-related incident. What do you think?''

``Bunk. Let me assure you that there has been little organized
criminal activity in the city of Chicago since 1932, since Alphonse
Capone went up the river. Besides, this is just a automobile accident,
not a bank robbery. Some people think `mobsters' are behind everything
bad in this city. Now, there's plenty of crooks out there but that
doesn't mean they're working together. I bet most of them hate each
other.''

``The Commissioner, giving an official view on the automobile accident
in the Loop this morning and a personal angle on crime in Chicago.
You're listening to NBC-Chicago's ``News on the Spot'' on WMAQ, and
I'm Len O'Connor. While we were gathering these interviews, we managed
to run into Virgil Peterson who was leaving from City Hall, after a
meeting with Mayor Kennelly. Mr. Peterson is the executive director of
the Chicago Crime Commission and he works for the FBI. Mr. Peterson,
if you can spare a few minutes, what do you have to say about crime
in Chicago?''

``What do I have to {\em say?} It's a lot bigger and goes a lot
deeper than people admit. I don't think there's a street in Chicago
where someone isn't running a scam, or trying to make a dishonest
buck, or God forbid, getting shot. Sometimes I think crime's the
city's biggest industry.''

``Mr. Peterson, are you calling all of us, the citizens of Chicago,
crooks?''

``No, just the person next to you.''

``That was Virgil Peterson of the FBI. I'm Len O'Connor for
NBC-Chicago, and you have been listening to ``News on the Spot.''
Next, we will be bringing you the latest on the Cubs. Back to you,
Judith.''

%"Values have shrunken to fantastic levels; taxes have risen; our
%ability to pay has fallen; government of all kinds is faced by serious
%curtailment of income; the means of exchange are frozen in the
%currents of trade...a host of unemployed citizens face the grim
%problem of existence, and an equally great number toil with little
%return. Only a foolish optimist can deny the dark realities of the
%moment." -- Franklin D. Roosevelt, First Inaugural Address, 1933

\clearpage

\section{House Rules}

\subsection{Character Packets}

Your character packet is a big manila envelope.  It contains your
role: who you are, what you're up to; everything about your part as a
{\bf player-character} ({\bf PC}) in the game.  Read all the contents
and generally keep them with you during the game.  If you are missing
something or find something which doesn't seem to belong to you, tell
one of the GMs.  Character packets are confidential.  Game materials
which cannot be given to other players are marked ``Not
Transferable,'' whereas things which can be given to others are marked
``Freely Transferable'' or ``Game Item.''

\paragraph{Name-Badge:} A name-badge with your player name, character
name and {\bf badge number} on it shows that you are in the game; wear
it visibly while you are playing.  It represents your character's body
in-game.  Badge numbers are not in-game information.  See the {\em
Character Bodies} and {\em Badge Numbers} sections for more details.

\paragraph{Character Sheet:} Your character sheet describes who you
are and what you are up to.  It contains a list of everything else
that should be in your character packet.  Do not show or read your
character sheet to other players.

\paragraph{Bluesheets:} A bluesheet describes information common to
members of a group.  When in conflict, character sheet information
overrides bluesheet information.  Do not show or read a bluesheet to
other players.

\paragraph{Greensheets:} A greensheet describes and expands abilities,
mechanics or in-game knowledge.  Do not show or read a greensheet to
other players.

\paragraph{Stat Card:} You stat card lists your statistics.  You might
not know what all of your stats mean.  Do not show your stats to
others.  The reverse side is a {\bf death report}; fill it out and
give it to the GMs when your character dies.

\paragraph{Ability Cards:} An ability card explains a special ability
your character has.  The front side describes the effects; show it to
players when you use the ability.  The reverse is the rules of use and
must not be shown to other players.

\paragraph{Memory Packets:} A memory packet is an envelope or stapled
piece of paper with a {\bf trigger} which describes when to open and
read it.  If the trigger is a number, open the packet when you see
something with that number.  If it's a quoted phrase, open when you
hear or read it in-game.  If it's a symbol, open when instructed.  Do
not take game action based on an unopened trigger.  Do not show or
read a memory packet to other players.

\paragraph{Items:} In-game items may be transferred from character to
character, and should be marked as such.  See the {\em Dealing with
Items} section for more details.

\paragraph{Scenario:} A scenario gives you general knowledge of the
game and its setting.

\subsection{Reality and Game Reality}

There is a big difference between reality and game reality.  Players
must treat each other with courtesy and explain to each other what
their characters perceive in confusing situations; e.g.\ ``My
character's hands are covered in blood,'' an {\bf out-of-game}
statement.  Characters are under no such restrictions, and may do what
it takes to further their goals; e.g.\ ``Uh, hi Bob.  Just got back
from the butcher shop,'' an {\bf in-game} statement.

{\bf Metagaming} is inferring in-game knowledge that is inappropriate
for your character from out-of-game information.  Do your best to not
metagame and to prevent the risk of metagaming.  Be your own harshest
critic.

\paragraph{Halts:} A halt pauses game action.  To call one, say ``game
halt'' in a clear and audible voice; other players around a corner
should hear you, but you shouldn't scare some poor grad student.  End
a halt by saying ``three, two, one, resume.''  Call a halt for one of
only three reasons: because a rule instructs you to, for safety and
similar out-of-game issues, or to pause game and fetch a GM (which you
should avoid).

\paragraph{Not-Here:} You may go not-here by turning your name-badge
around so the ``I'm Not Here'' side is showing (or by removing your
badge entirely, if you are leaving game).  Putting a hand on your
head, visible from a distance, helps if you're near other players.  Go
not-here for one of only three reasons: because a rule instructs you
to, to leave game, or to fetch a GM while in a halt (which you should
avoid).

When you are not-here, your character is not there.  Your character
cannot see, hear or remember any game actions or information that you,
the player, may encounter.  Avoid other characters, common game areas,
game signs, or any sort of game interaction.  To leave or enter game
for a significant duration of time, walk out of the game area, then
remove your name badge.  Don't go not-here in front of other
characters; give them a fair chance to interact with you.

\paragraph{Observers:} An observer is someone not playing the game who
has agreed to watch. They wear yellow or white headbands. Observers
have traditionally been called ``ghosts.''  They should stay out of
the way; you can always ask an observer to leave.  If a friend who is
not playing wants to observe game, send them to the GMs.

\paragraph{Non-Player-Characters:} Non-player-characters ({\bf NPCs})
are characters in the game's universe not played by a full-time
player.  They are minor characters, bit parts, or random people.  Some
may have name-badges; sometimes called ``GM plants,'' these are often
not readily distinguishable from PCs. People wearing colored headbands are
either playing patrol or helping with some in-game mechanic; ignore
their presence and allow them to pass by freely.

\paragraph{Non-Players:} Not everyone in the world is playing in this
game.  Some non-players ({\bf NPs}) like to study undisturbed; others
just don't like having toy guns waved in their faces.  You are
encouraged to spread the gospel of real-time, real-space roleplaying;
however, use tact and common sense when dealing with NPs.

NPs may not knowingly affect the game.  They may not be used to hold
items or information, nor can anything be hidden in a NP's room.  They
may not help you kill someone, much less blow up a bomb for you.  Do
not use the presence of NPs to hide from rampaging mobs that want your
blood.

Avoid conspicuous or threatening game actions in front of NPs.
Shooting your friend outside of a classroom one minute before class
lets out is a bad idea, as is screaming bloody murder down a hallway.
If, despite your most valiant efforts, some NPs do get upset, call the
GMs who will help calm them down.

\paragraph{Mechanics:} Many actions your character can take, such as
walking, talking, and general interaction with other characters, are
represented by you doing them.  Some things, like combat, are
performed via abstract mechanics, which are described in ability
cards, greensheets, and rules.  The abstract information for mechanics
(like badge numbers) may not be discussed in-game.  If you want to do
something special for which there is no mechanic, ask a GM.

Become familiar with your mechanics before game starts, especially for
those which occur under time-pressure (including combat).  Game action
will not stop for memory packets, greensheets, or such.

A {\bf kludge} (and derivative forms like ``kludge-ite'') is something
impervious to logic and cleverness, usually for game-balance.  You
can't affect a kludge without a specified mechanic.

{\bf Zone of Control} ({\bf ZoC}) is a rough distance measurement.
You are within ZoC of someone if your outstretched fingers can touch
their outstretched fingers.

\paragraph{Safety:} This is a game.  Real violence is unacceptable.
Game action should cause no real-world damage, either to people or
property.  If something dangerous is happening, call a halt.  Stay in
control, use common sense, and do not endanger yourself or others.
You should not run or otherwise force your way into or through someone
else's ZoC, and you should never make physical contact
with another player without permission.

\subsection{Roleplaying}

{\bf This game emphasizes roleplaying and acting.} Players should be
more concerned with getting into character and portraying personality
to other players. If you find yourself in a situation where you have
to choose between being `smart' and `true to your character,' stick
with the latter. Avoid isolating yourself from other players; try to
get others involved in your plans and goals. Spend time talking to
other players and interacting with their characters, allowing
differences in the personalities of your characters to produce
interesting dialogue and situations. It is acceptable and preferable
to lose your plot if you do so in character and in style.

{\bf This is a film noir game.} Your character should not be
lighthearted and happy by the end of the game. If you are killed in
game and leave behind an enigmatic or gory corpse, that's a good
thing.

%\clearpage
\section{Dealing with items}

Many in-game items are represented by little white cards with a number
and description.  Item cards may be shown to others, passed around,
stolen, etc.  The {\bf item number} on the card is not in-game
information and {\em may not be recorded or discussed}.  Not all
in-game items have cards or numbers; whatever they are represented by
should be clearly marked ``in-game item'' or ``freely transferable.''
You cannot remove or destroy most items or item cards in the game.

Use common sense.  You can't carry a hundred rocks in your pocket,
fold a sword in half, or hide a life-sized statue in a fire hose.  You
can't stop a bullet with a set of blueprints or rip apart a metal safe
with your bare hands.  Even if your bag can carry a shovel in it, the
shovel noticeably sticks out (``you see a shovel sticking out of my
bag''). 

\paragraph{Written Information:} If you write in-game information down
on a piece of paper, that paper is now an in-game item and must be
clearly marked as such.  Don't write in-game information on
out-of-game documents (like your character sheet).  Don't write
out-of-game information (like memory packet triggers) on in-game
documents. You can shred items or item cards representing in-game
paper documents; dispose of the shreds in wastebaskets in classrooms
reserved for the game. You can reconstitute shredded documents
by finding and reassembling the shreds.

\paragraph{Envelopes:} Some items and locations may have an attached
envelope (or just be a labeled packet or folded paper).  The envelope
may include directions for when to open these (``open packet if you
press the big red button'' or ``open packet if you eat this'');
otherwise you may only open them if and when instructed.

\paragraph{Signs:} Some locations and other game materials are
represented by signs or packets posted throughout game area.  You may
read any signs and must follow any rules printed on them.  If a sign
or packet doesn't have some sort of in-game description (it only has
out-of-game mechanics information, like a number or just a colored
dot), then your character doesn't even see it or know that anything
unusual is there. {\bf Do not try to record or memorize the mechanics
information on signs.}

\paragraph{Bulkiness:} A bulky item is too big or heavy to be carried
or concealed freely.  Bulkiness is measured in {\bf hands} or {\bf
dots} (how many hands it takes to carry it).  If you are carrying a
bulky item, make it clear to onlookers (hold the card).  A hand
carrying a bulky object may do nothing else.  With one hand less than
required, you may drag a bulky item at a slow pace.

\paragraph{Character Bodies:} A body is two hands bulky and usually
represented by a name-badge.  It must be willing or unable to resist
for you to carry it.  Carry the badge conspicuously.  Onlookers can't
tell if it's dead without close examination, unless it would be
obvious (like headless).

\paragraph{Props:} Some items may have props (physical representations
or {\bf physreps}) associated with them.  The card and physrep should
be kept together.  If they are separated, the card is the real item.
Prop items are as bulky as the physrep.  They can be carried in bags
that can hold them, on straps that are attached to them, etc.

\paragraph{Containers:} Some items, like crates or personal bags, have
a {\bf capacity}.  Capacity is measured in dots or hands; this is how
many dots of items can be stored within.  You can put as many
non-bulky items inside as is within reason.  A container may have a
capacity bigger than its bulkiness; use common sense when nesting
containers.  Put contained item cards inside the envelope attached to
the container card.

%\clearpage
\subsection{Searching and Stashing}

\paragraph{Places:} To search a classroom, search it. Normal items can be
stashed in any reasonable, legal place in a classroom. Don't stash
items in places that are not classrooms specifically reserved for
game; see the {\em Game Areas} section for more information. Don't put
items behind locked doors, inside ceilings, in construction sites, or
in hacking locations; consequently, don't go rummaging through such
places for game items.

Note that the GMs may plant items or information in locations outside
of the reserved classrooms but generally within Game Areas. These will
either be obvious (visible to passers-by) or players will be given
specific information on where to find them. As long as characters are
within Game Areas, feel free to tail and follow others in order to
discover secret locations.

In order to hide a prop item, you need to conceal the physrep in a
location large enough to hide the entire physrep; if a physrep is made
of foam, do not squash the physrep to force it to fit into a smaller
stash site.

\paragraph{People:} All searches of characters or their belongings are
conducted via player dialogue.  Someone must be willing or unable to
resist for you to search them.  Anyone within ZoC of either you or
your victim can prevent the search by saying ``I stop you'' or an
equivalent phrase.

You can perform a {\bf pat-down search}, which will only reveal the
presence of weapons. You need at least one free hand to perform a
pat-down search. Say ``I search you for weapons'' to the person you
are searching. This takes as much time as it takes your victim to tell
you what you find.  If you're the victim, do this at a reasonable
pace.

A {\bf total search} is an invasive, complete search of a character's
clothing. You need at least two free hands to perform a total
search. Say ``I search you completely'' to the person you are
searching. This reveals all in-game items, and takes as long as your
victim spends handing over possessions.  If you're the victim, hand
over items at a reasonable pace.

\paragraph{Bags:} To search a bag that is obviously in-game (has an
attached, displayed item card), search the physrep. To declare a bag
out-of-game, make sure it has ``no game items'' prominently labelled
on the exterior of the bag. Item cards in the bag must be in
reasonable places, i.e. not inside secret compartments in the bag. All
in-game bags must be fully in-game. If you wish to carry personal
effects in an in-game bag, keep them in a removable pouch or envelope
and label it ``no game items.'' If you are about to be separated from
your bag for in-game reasons, you may first remove the pouch from your
bag to keep it with you. Do not use this as an opportunity to
surreptitiously take or remove in-game items from your bag.

To search an attended bag, say ``I search this bag'' to the owner. You
only need one free hand to search a bag. If the owner is willing or
unable to resist, the owner should hand over all game items inside at
a reasonable pace. 

Alternatively, simply hand over the entire bag. Note that many
characters will be unable to hold a weapon, a bag and perform a search
at the same time; feel free to take advantage of such an opportunity.

\subsection{Food and Drinks}

Food in this game is mostly pasta, represented by actual pasta. You
will find it in {\em Mama Accardo's Ristorante} in game. Take
advantage of in-game food as much as possible during game; inform the
GMs of any dietary restrictions if you haven't already done so. Food
may be purchased using in-game money; consider leaving behind a tip
for the wait staff if your character can afford it.

\clearpage
Alcoholic drinks at the {\em The Green Mill} are represented by
non-alcoholic sodas.  Don't call the drinks by their non-alcoholic
names, e.g. if your character is drinking wine, refer to the drink as
wine. Take advantage of in-game drinks as much as possible during
game.  If the bar is open but the bartender isn't around, you can
serve yourself a drink from the NPC bartender.  Tip the PC or NPC
bartender if you can afford a drink; ask for a tab if you can't.

{\bf Rum:} Sprite \\
{\bf Whiskey:} Cranberry juice \\
{\bf Beer:} Ginger Ale \\
{\bf Wine:} Grape juice (red and white) \\
{\bf Scotch:} Coca-Cola \\
{\bf Vodka:} Mountain Dew 

\subsection{Mickey Finns}

You can `slip a mickey' into someone's drink if you have the
opportunity and the motive.  Mickey Finns are knockout drugs
represented by a measure of powdered salt wrapped in paper. To use it,
simply add the salt into a person's drink. Mickey Finns only work in
drinks. All characters have access to Mickey Finns; players should
bring their own salt. You can dispose of unused Mickey Finns in any
trashcan.

If you imbibe a drink that is unusually salty, your character becomes
unusually sleepy and wants to sit down as quickly as possible. Once
seated, you are knocked out for the next five minutes. Do not noisily
broadcast the fact that you are knocked out; just close your eyes and
slump. Lay your head on a table if you have one in front of you.

\subsection{Poker Cards}

{\bf All players will need to have a full deck of poker cards without
any jokers.} These are not in-game items and you should not remove
them from other characters, neither should you distinguish them from
any other deck of cards. Use the poker cards for mechanics that
require a certain amount of chance. If you wish, you may use the same
cards to play a game of cards with other characters; be sure that the
owner of the deck regains possession of all the cards when the card
game is over.

The basic chance mechanic is based on five-card draw poker. Shuffle
the deck thoroughly before beginning and keep the deck face-down. Draw
the top five cards from the deck and place them face-up. A mechanic
that requires chance will indicate a certain poker hand, such as {\bf
Hand: Straight}. You need to make the five cards show a hand that
equals or betters the value of the stated hand. If they already show
you a winning hand, you succeed in performing the mechanic.

If you do not have a winning hand, choose one to five of the face-up
cards to reject. Place those cards face-down in a discard pile and
draw the same number of cards from the top of the deck. Turn the new
cards face up.  If you now have a winning hand, you succeed in
performing the mechanic. If not, discard all the face-up cards and
draw five new cards from the top of the deck, repeating the mechanic
from the beginning.

If you run out of cards in the deck without forming a winning hand,
you have failed at the mechanic. Unless you know otherwise, you may
not attempt that particular mechanic for the rest of the game. If you
can make a second attempt, reshuffle the deck well before restarting.

The hands are listed below in descending order of value:

{\bf Royal Flush:}
A, K, Q, J, 10 all of the same suit.\\
{\bf Straight Flush:}
Any five card sequence in the same suit. (e.g. 8, 9, 10, J, Q or A,
2, 3, 4, 5 of same suit)\\
{\bf Four of a Kind:}
All four cards of the same index (e.g. K, K, K, K)\\
{\bf Full House:}
Three of a kind combined with a pair (e.g. A, A, A, 5, 5)\\
{\bf Flush:}
Any five cards of the same suit, but not in sequence.\\
{\bf Straight:}
Five cards in sequence, but not in the same suit.\\
{\bf Three of a Kind:}
Three cards of the same index.\\
{\bf Two Pair:}
Two separate pairs (Ex: 4, 4, Q, Q).\\
{\bf Pair:}
Two cards of the same index.

\subsection{Doors and Locks} 
In-game locks will have a lock letter printed on the card. Classroom
doors that can be locked should have a similar letter displayed on the
door.  To open the lock, you need a key with the same letter.  If a
lock is closed, assume it is locked. Doors can only be locked from the
outside; you cannot keep a mobile person locked in a room.

\paragraph{Lock busting:} Locks and doors will also have a poker hand
displayed on the card. Anyone may attempt to bust a lock by using the
basic poker chance mechanic to {\bf beat} the hand displayed on the
lock. Most doors will require you to beat a three-of-a-kind;
high-security doors or locks may require better hands. Once you
succeed, the lock breaks and cannot be locked again. Indicate the
status of a busted lock by drawing a large X on the item card or sign.

\paragraph{Lockpicking:} Certain characters may be able to perform 
lockpicking if they have a lockpick. If you have such an ability, use
the basic poker chance mechanic to {\bf beat or equal} the hand
displayed on the lock. A picked lock will lock again once it is closed.

\section{Gambling with Love}

Love plots in this game use the cards in a slightly different manner.
When not performing a mechanic that requires a full deck, you should
always keep one card from the deck separate from the rest. This is
your {\bf Mood} card. Do not show anyone the card. You may return the
card to your deck and draw a new card at any time as long as no one is
currently attempting to seduce you. You can look through your cards to
pick a specific card if you wish.

The second digit on a name-badge indicates the physical attractiveness
of your character, with higher numbers corresponding to greater
attractiveness. All characters in this game are automatically
interested in flirting with any character of the opposite sex who has
greater attractiveness; roleplay accordingly. Due to the Hays Motion
Picture Production Code of 1930s, there are no homosexual
relationships depicted in this game.

\subsection{Flirtation}

Initiating romantic involvement between characters begins with
Flirtation, which does not involve the use of any cards.  You first
need to Flirt with him or her by striking up conversation with a corny
opening line. The person being Flirted with needs to respond with a
witty retort. If the person responds with a non-witty response, you
were probably too subtle. Remember that film flirtation in the 40's
was never terribly subtle; crank up the chutzpah and try again.

If someone is trying to Flirt with you, you need to respond with a
witty one-liner within five seconds by turning the flirter's opening
line against him or herself or by coming up with some inventive
insult. You decide if your own response was good enough. The first
person who fails to come up with a witty retort within five seconds of
the last response loses the Flirtation. If you lose a Flirtation, you
cannot attempt to flirt with the same person for the half-hour. If you
win a Flirtation, you have the option of attempting to Seduce the
other character.

If a Flirtation is interrupted, the last person to get in a witty
retort automatically wins the Flirtation. If someone succeeds in
Flirting with you, your character is now somewhat romantically
intrigued by the Flirt.

\subsection{Seduction}

You may attempt to Seduce someone three times immediately after
winning a Flirtation.  If someone is seducing you, replace your Mood
card with a new, random card after every attempt at Seduction. Every
failed attempt at seduction makes your character a little less
interested in the flirt; brush the seducer away after three
consecutive, unsuccessful Seductions. If you fail to seduce someone
after three consecutive attempts, you will need to Flirt again before
you can Seduce that person. If someone succeeds in Seducing you, your
character becomes rather enamoured with the seducer; roleplay
accordingly.

\paragraph{If your character is more attractive than the character
you are trying to seduce,} draw a card from your deck and hold it up
to the person you are trying to Seduce. Say ``suit.'' If the other
player's Mood card has the same suit as the one you showed, you
succeed in Seducing the other character.

\paragraph{If your character is less or equally attractive to the
character you are trying to seduce,} draw a card from your deck and
hold it up to the person you are trying to Seduce. Say ``number.''  If
the other player's Mood card has the same number as the one you
showed, regardless of suit, you succeed in Seducing the other
character.

\subsection{Sex}

Sex should immediately follow a successful Seduction, although
characters may mutually consent to have Sex without Seduction. They
should still attempt to Flirt; remember that one person always wins a
Flirtation. Find an empty reserved classroom as soon as possible and
close the door behind you two. If either of you are attacked en route,
you do not have to perform the rest of this mechanic. You and another
player should sit across a desk and use a single, full, well-shuffled
deck belonging to the person who performed the successful Seduction.

The owner of the deck is the dealer and deals two cards to each
player, two face-up and one face-down. You may always examine your own
face-down card, also known as your hole card. Do not discuss the value
of your hands verbally; hand gestures and facial expressions are
fine. You may talk about anything else in-game during this process.

The game resembles Blackjack, in which you try to get a high
collective value of cards without going over 21. Royal cards (Jack,
Queen, King) are all worth 10 and the Ace can be worth 1 or 11,
depending on what the holder of the Ace wishes it to be. The rest of
the cards are all worth the number on the face of the cards.  Both of
you need to decide whether to `hit' or `stick,' i.e. whether to get a
new card or to stay with the cards you already have, respectively. If
you are not dealing, indicate this by pointing downwards at your
cards; a single finger is a request to the dealer to `hit' and several
fingers is a request to `stick.'

If you are the dealer and wish to `hit' your own hand, deal to
yourself before dealing to the other player. If the other player
decides to `stick', you may again decide to `hit' or `stick' with your
own hand. Once either player decides to `stick' with his or her hand,
that player may no longer be dealt any new cards. If you `bust,' that
is, if the total value of your cards exceeds 21, you can only `stick'
with the cards you have. You do not need to declare that you are bust,
although it may already be obvious from your face-up cards.

Once both players decide to `stick' with their hands, both players
simultaneously reveal their hole cards. If you have more than a total
of 21, say `bust' as you turn over your hold card. If not, declare the
total value of your cards as you turn over your hole card.

You need to earn points in order to win at Sex. If you have a total of
21, you gain a point. If neither player busted, the player with the
higher total gains a point. If neither player busted and had identical
total card values, both players gain a point. If you bust, you {\em
lose} a point.

If you are the first player to reach 3 points, you win; the other
character falls desperately in love with you. You should not attempt
to directly hurt this character for the rest of game but you may place
him or her in danger or attempt to Flirt with another character. If
you were trying to make the other character fall in love with you, you
have succeeded.

If you fall in love with another character after losing at Sex, you
may not attempt to seduce any other character, hurt your new partner
or knowingly place him or her in danger for the rest of game.  If both
players reach 3 points simultaneously, both chacters fall in
desperately in love with each other.

If both players have less than -3 points, the sex ends badly! You both
have an unsatisfactory sexual episode and neither of you should
attempt to Flirt or have Sex with each other for the rest of
game. Your characters get mad at each other; feel free to hurt each
other after 15 minutes of amnesty, if it makes sense for your character.

Before dealing the next hand, the dealer should reshuffle all the
cards back into the deck if there are approximately less than a dozen
cards left in the deck. The other player should cut the deck. You
should continue playing Blackjack until you win or lose. If you are
interrupted by other players, you should halt the Sex. Neither of you
should initiate Flirtation, Seduction or Sex for the next half-hour.
Others may attempt to do the same to you.


\clearpage
\section{Dangerous Stakes}

\subsection{Health States}

Characters have four possible states concerning health and damage.
When you are {\bf mobile}, you may act freely.  When you are {\bf
helpless}, you are immobile and may do nothing but talk.  When you are
{\bf knocked out}, you are unconscious and will regain
consciousness in five minutes.  When {\bf dead}, you are dead.

When knocked out, fall down and drop anything you are holding. Just
lie there; you won't be doing much of anything until you wake up or
die. Do not listen to conversations going on.

In addition to being mobile, helpless or knocked out, characters can
also be {\bf wounded}. Wounded characters are bleeding and will die in
five minutes, or in ten minutes if they have a cigarette. See {\em
Cigarettes} below for more information. Wounded characters lose one
hand of carry from their normal carrying capacity; if you are carrying
up to your maximum capacity when someone wounds you without rendering
you helpless, drop the items in one of your hands. If you are wounded,
be appropriately dramatic.

Dead men tell no tales.  If you are dead, do not give out any
information about your character or your death to any players.  {\em
Fill out your Death Report.}  You may remain on the scene to play the
part of your corpse; describe obvious information to onlookers (``I
have a gunshot wound in my back'').  When you leave, write a
description of the body's visible state on the front of your
name-badge.  Take the ``I'm Not Here'' side to wear.  Stack your items
with your body. Give your death report to a GM. If your death becomes
generally known to the other characters, you may be able to become an
observer.  Until the game is over, you may not convey game information
to any player.

\subsection{Cigarettes}

Cigarettes in this game are represented by candy cigarettes. They are
in-game items. If you have an in-game cigarette in your mouth at any
time while you are wounded, you take twice as long to bleed to death,
i.e. you will take ten minutes rather than five minutes to die from a
wound. If you have a cigarette in your mouth while being shot or if
you have one placed in your mouth right before the five-minute time
limit, you have an extra five minutes to bleed before dying. Additional
cigarettes will not help you.

Note that if you are helpless, you may not draw a cigarette of your
own while wounded; someone else needs to give you a cigarette if you
did not already have one in your mouth while being wounded. You may
not smoke if you are knocked out; if you did not have a cigarette
while being simultaneously knocked out and wounded, you may very well
bleed to death after five minutes.

\subsection{Weapons}

All weapons have both a physrep and an item card that declares it to
be a weapon. Keep these together.  Melee weapons may have combat
bonuses indicated on the card. To use a weapon, you must hold it with
a hand that is free of any other items; the hand and the weapon should
not be obstructed in any way.  Display it in an obvious manner.  All
weapons are one hand bulky. You cannot hold more than one weapon in a
hand.  You may only use one melee weapon at a time. Melee weapons are
represented by foam boffers.  Ranged weapons are represented by a dart
gun, a disc gun or a koosh ring gun.

\subsection{Combat on stairs}

If either combatant is standing on stairs when combat breaks out, the
combat immediately fails to produce any result. There should not be
any combat on stairs, although it is perfectly acceptable to continue
talking and interacting in-character while climbing stairs. Refrain
from running, blocking movement or overtaking people on stairs. Try to
stay about fifteen feet away from a stairwell exit if you are not
using the stairs.  Do not linger too long on stairs and ensure that
you do not trouble NPs.

\subsection{Ranged Combat}

Ranged combat is real-time and mostly based upon player skill at
firing and dodging physreps.  Keep it safe.  Hits to anywhere on the
body have the same effect but do not aim for the head.  If a
projectile hits clothing or long hair such that it would not hit the
body if it passed through the hair or clothing, it doesn't count.  A
hit on an item that you are holding counts as a hit on you, not the
item.  If there is a conflict over whether or not a projectile hit,
the shooter calls the shot.

There are 2 types of ranged projectiles: {\bf bullets} and {\bf
cartridges}.  Bullets, represented by plastic discs, plastic darts or
foam darts, can be fired by corresponding guns with the appropriate
item cards. The cards indicate the maximum amount of ammunition that
can be kept loaded in a specific gun at any time.  Ammunition is
limited; you may not reuse bullets that have been fired. Bullets that
you find on the floor are spent bullet casings. All bullets have the
same effect: if and when you are hit by one, you become wounded and
helpless and will remain so until you know otherwise.

Shotgun cartridges, represented by koosh rings, can be fired by Vortex
Tornado guns with the appropriate item card.  If you are hit by a
shotgun, you die immediately, whether you have a cigarette in your
mouth or not.

\subsection{Killing Blow and Strangulation}

A {\bf Killing Blow} is a fatal series of wounds. A Killing Blow will
kill a helpless or knocked out victim. Your victim must be within ZoC
and either knocked out or helpless. You need to have a weapon to
perform a Killing Blow. You must not be using a cigarette; if you have
one in your mouth, be sure to remove it before performing a Killing
Blow.

To perform a Killing Blow, clearly incant ``Killing Blow one, Killing
Blow two, Killing Blow three, Killing Blow four, Killing Blow five''
at a reasonable pace. At each count, use the weapon in an appropriate
manner; gently tap the victim with the foam boffer or shoot a bullet
at the torso of the victim. You need to shoot a ranged weapon to use
it in a Killing Blow; you cannot pummel someone to death with a gun.
ou do not have to be perfectly accurate; you simply need to expend
five rounds of ammunition for a Killing Blow.  Ammunition expended in
a Killing Blow may not be used for any other purpose in game, such as
shooting someone else. If you are using a fully-automatic ranged
weapon for a Killing Blow, only fire at the last count and be sure to
fire at least five rounds of ammunition.

To stop a Killing Blow, either attack the person doing it or say ``I
stop you'' within ZoC. If you are attacked or if someone within ZoC
says ``I stop you'' or an equivalent phrase while you are counting off
a Killing Blow, you are stopped and the victim is still alive. If you
struck or shot the victim while counting, the victim is now wounded.
An aborted Killing Blow does not give an already-wounded victim
additional time to live.

You may use {\bf Strangulation} to kill a helpless or knocked out victim if
you are unarmed.  You must not be using a cigarette; if you have one in
your mouth, be sure to remove it before Strangling somebody.

To Strangle a helpless or knocked out victim, place both of your hands
on his or her shoulders and say ``I strangle you.'' You should not
have anything else in your hands. You must remain stationary in that
position for one whole minute and may not take any other action during
that time; you should take the opportunity to roleplay and act. The
victim may not make any noise or take any action during a
Strangulation; if the victim was knocked out or restrained at the
beginning of a Strangulation, the victim remains knocked out or
restrained until death or until the Strangulation is aborted. To stop
a Strangulation, use the same methods as stopping a Killing Blow.

\subsection{Bombs}

A bomb is represented by a bell, usually with some sort of timer. For
this reason, please turn off watch alarms before entering game and
avoid using them during game. If a bell rings near you, call a halt
and examine the bell to confirm that it is a bomb. If it is and you
were within arm's reach of a bomb when it rang, you are dead.  A bomb
will have a piece of string attached to it.  If, when stretched out
(even around corners), the string can touch you, you are wounded.
Once the dead and wounded have been determined, game will resume.
Anyone can arm a bomb; disarming a bomb requires an appropriate
ability card.

\subsection{Martial Combat}

%% intro
All characters have a {\bf Combat Rating} ({\bf CR}) stat.  This
represents your basic skill in martial combat; you use the same number
for attacking and defending.  Someone with a CR of 1 can't fight
very well.  Someone with a CR of 3 is somewhat burly or skilled.
When using this stat, you may pull your punches by using a lower
number.

%% offense
Martial-attacking someone requires being within ZoC.  Clearly state
your attack followed by your CR (``\aKnockOut{} 2'' or ``\aWound{}
2''). Your attack must resolve before you may make another.  If an
ally directs {\bf \aAssist{}} at you after you attack, you may, within
2 seconds, restate your attack with the \aAssist{}'s CR added
(``\aWound{} 3'', ``\aAssist{} 2'', ``\aWound{} 5'').  \aAssist{} does
not change your CR for defense.  You may always ignore an \aAssist{}.

%% defense
When attacked, resolve by comparing the attack against your CR.  If
your CR is lower, take the effects; else, say ``{\bf resist}'' and the
attack will have no effect.  If you neither say ``resist'' nor
counterattack within two seconds of the incant's end, you are
surprised and the attack just works.  The attack begins when the
incant begins; until you resolve, all actions other than attacks are
interrupted; a series of attacks cannot prevent simple actions
(talking, weapon-drawing, ranged attacks) from happening between
attacks.  Resolve all attacks alone, in the order they occur; choose
the order if it is unclear. If someone attacks with the word ``{\bf
waylay}'' instead of a CR (``\aKnockOut{} waylay''), the attack just
works.

\paragraph{Martial Attack Abilities:} Here is a list of attack
abilities.  Everyone has \aKnockOut{}, \aWound{}, \aRestrain{} and
\aAssist{}. Certain characters may have \aDisarm{}.\nopagebreak

\iffalse % replacing macros with their expansion text to latex w/o GameTeX
\begingroup
  \MAP{Abil}{%
    \setbox0\hbox{\phantom{w}{\em Effect}: \MYeffect}%
    \par{\bf\MYname}: \MYtext\hfill\null\hskip\wd0\null%
    \hskip-\wd0 plus1fill\box0%
    \nopagebreak\par%
    }
  \aKnockOut{}
  \aWound{}
  \aAssist{}
  \aRestrain{}
  \aDisarm{}
\endgroup
\else  %%% start replacement text
Knock Out: You can knock someone out as an attack.  This requires either
two free hands or a single hand holding any weapon.
Say ``Knock Out'' and your CR.\\
Wound: You can would someone as a martial attack. This requires any melee
weapon represented by a foam boffer.
Say ``Wound'' and your CR.\\
Assist: You can assist someone else's attack.  This requires one free hand or
one hand with any weapon.  You must be within ZoC of both the attacker and
target.  Within two seconds of an attack, direct this at the attacker,
saying ``Assist'' and your CR.\\
Restrain: You can restrain someone as an attack.  Say ``Restrain'' and
your CR.  If you succeed, they are helpless.  You may freely drag, attack,
strangle or or (if you have a weapon) killing-blow them.  To do anything else,
or if your health state changes, incant ``release'' and let them go.
This requires both hands; each must be free or armed with a weapon.\\
Disarm: You can disarm one item from someone as an attack.  Say ``Disarm''
and your CR.  Point at the item you want to disarm.  If the attack works,
they must drop that item.\\
\fi  %%% finish replacement text

\subsection{Stealth}

Stealth abilities represent sneaking up on a victim with obvious
intent to invade their personal space, probably to attack them by
surprise. All the characters in game have the basic waylay ability
as indicated below; some may have more dangerous variants.

To use a stealth ability, you must be within ZoC of your victim.  Form
the sign of the devil (index and pinky fingers extended, thumb holding
other two fingers down) and extend it along the direct, unobstructed
line from your shoulder to the victim's head.  Hold this position for
the time specified by your ability. Your attempt at stealth will be
thwarted if anyone attacks you or if the victim notices the symbol
before this time is up.  If they react in any way to the symbol, they
have noticed; the attackers make the call.

If you notice someone using a stealth ability on you, make it obvious.
``I notice you'' is unambiguous; use it if you can.  Once someone
successfully uses the stealth ability on you, you may not
retroactively have noticed.

\paragraph{Waylay:} You can stealthily attack someone.
You must hold the waylay symbol for five seconds.  If you succeed, you
may replace your CR with ``waylay'' for a single immediate attack on
your victim.

\clearpage
\section{Miscellaneous}

\paragraph{Badge Numbers:} The first digit of your badge number is
your character's apparent age in decades. The second digit is your
character's physical attractiveness. A ``1'' is Danny DeVito, a ``9''
is Marilyn Monroe. A ``5'' is your typical film noir protagonist.  All
characters in this game are automatically interested in flirting with
any character of the opposite sex who has greater attractiveness;
roleplay accordingly.

\paragraph{Rope:} Rope is freely available. Make an item card for it
when you need it. To tie someone up, they must be either willing,
helpless, or knocked out. Say ``I tie you up,'' then give the item
card to your victim. If you get tied up with rope, you immediately
become helpless; hold the item card behind your back. If you are tied
up but conscious and left alone, you can wriggle free in five minutes.

\paragraph{Game Times:} Players are expected to be present at the
GM control room (24-110) by 7pm on Friday night and 7:30pm on Saturday
night. Latecomers on the first night may find their characters
reassigned to other players.

Game runs from 8pm to 2am on Friday night and 8pm to 2am on Saturday
night. Players with cars are encouraged to offer rides to players who
do not have personal transportation and live off campus.  Surviving
PCs are expected to be in game during all hours of game. Game may end
early at the GMs' discretion. Cleanup and Wrapup will immediately
follow the end of game. Breakfast may follow the end of Wrapup.

\paragraph{Game Areas:} Publicly-accessible areas within buildings 
9, 33, 35, 17, 31, 37, 39, 38, 34, 36, 24, 26, 13, 10, 12, 16 and the
Infinite Corridor are all game areas. Elevators and basements in these
buildings are all accessible and useable. The streets
in between these buildings are also game areas regardless of
weather. Note that interesting or important locations in game may be
outdoors. Please be mindful of traffic and prepare for inclement
weather. Raincoats, hats and umbrellas are appropriate for the genre;
please supply your own.

Try to stay within game areas for the whole duration of the game.  The
boundaries of game are elastic for the purposes of pursuit but players
are encouraged to stay within the specified game areas for all
situations. Do not attempt to cross Massachusetts Avenue, Vassar
Street, Memorial Drive, Main Street or Ames Street during game. Other
areas of campus may also be in-game but will only be accessible via
clearly marked signs.

Avoid places where it would be illegal for you to go, such
as areas under construction. Don't take game actions in labs,
bathrooms, private offices, activity offices, and any place where not
all players would be allowed to enter. Game action is not allowed in
Athena clusters.  Don't hide in them, either. You may not use Athena
for in-game purposes.


\paragraph{Phones:}

You may use phones for out-of-game purposes whenever you wish. You may
use phones for game purposes between noon and 1pm on Saturday. When
doing so, callers are encouraged to speak in-character without
spooking players or their roommates. Keep each call around five
minutes (not including the time spent asking roommates to locate the
intended recipient of the call) and engage in a maximum of three phone
calls. If you have already taken or made a total of three calls during
the day, simply tell other game callers that your character has run
out of calls for the day when they happen to call you. The aborted
call does not count against the initiating caller's limit.

%\clearpage
\section{Final Words}

These rules are imperfect.  The GMs may violate the letter of the
rules in order to preserve the spirit of the game.  We hope these
rules are reasonably clear, but if you have any doubts about your
interpretation, talk it over with us in advance.

We should also add, as much as we hate to admit it, we GMs are human:
when all of our carefully laid plans are going haywire, we may lose
our cool.  Remember, the best way to deal with people is by remaining
calm and friendly, especially when everyone is tired and hungry.

We hope you have lots of fun.  Good luck. 

\end{document}
