TEXT: 1: 
  L£ETSATTHJ3 
  HANAG13 
  EXT. ORPHANAGE. DAY. 
  A sound man sticks a microphone onto a podi-
  um. The podium is on a cloth-covered riser 
  about ten feet above the pavement. Behind the 
  podium a number of official-looking men and 
  women in business attire find the fold-up seats 
  assigned to them. Obviously a public ceremony 
  of some sort is about to begin. 
  The camera pans over to a building. A big 
  red ribbon has been suspended on stanchions 
  in front of the doorway. Hanging from a rope 
  on one of the large chrome stanchions is an 
  oversized, gleaming pair of scissors. 
  INSERT SHOT. 
  A sign on the building's door reads NEW 
  PROSPERITY ORPHANAGE. 
  EXT. ORPHANAGE. 
  Cut back to the scene on the platform. The 
  camera pans across the smiling faces of the 
  PLAYER CHARACTERS, who are all standing in 
  a line. They wear their fanciest clothes, whatev-
  er those may be. (Perhaps the PC most uncom-
  fortable with a formal outfit tugs unhappily at 
  his collar, loosening his tie. If one of the PCs is 
  from another juncture, he may be looking with 
  curiosity at the modern shoes upon his feet.) 
  In front of each PC is a freshly-scrubbed, 
  beaming young ORPHAN. The camera keeps 
  panning. After it finishes panning down the 
  row of PCs, we see that standing beside them 
  is FAST EDDIE LO. FAST EDDIE leans over 
  and speaks into the ear of the PC beside him. 
  another mob boss of the pes' acquaintance. He 
  must be the sort of bad guy with whom the pes 
  have a mutually antagonistic, but not actively 
  homicidal, relationship. In other words, they 
  should fear him, know him as formidable, but 
  not want to draw on him the second they see 
  him. 
  FAST EDDIE 
  You didn't think I'd miss this, did you? 
  After you finagled me into paying for 
  the place? 
  Your players' eyebrows may be raising at this 
  point, in the universal symbol of "huh?" Tell 
  them that Fast Eddie is referring to something 
  that took place between this episode and the last. 
  Your latest encounter with the Jade Wheel's 
  favorite "rascal"! ended up with you and Fast 
  Eddie at a stand-off. You had one of those metal-
  shelled suitcases full of his money, and each side 
  had the drop on the other. You proposed a face-
  saving way for both to back down: You'd donate 
  Fast Eddie's dough to the New Prosperity 
  Orphanage in Tsimshatsui, but put the donation 
  in his name. 
  Now, there's nothing to stop you from creat-
  ing a prequel adventure of your own that leads 
  up to that conclusion, and actually playing it out 
  before starting Four Bastards. On the other hand, 
  there is a lesson to be taught to players who 
  object to things occasionally 
  happening to their characters 
  II off-stage." Make sure you 
  have several sheets of scrap 
  Fast Eddie appears in Feng Shull on p. 
  ~~~ paper available for this pur-
  237. If you can't use him in your series (like, 
  say, if your pes shot him dead), substitute 
  
  If someone complains that "hey, my charac-
  ter wouldn't be-" take one of the sheets of 
  paper, roll it up into a ball, and toss it into the 
  quibbler's lap with a hearty cry of "Grenade!" 
  If the player protests further, tell him he'd 
  better do something about that grenade before it 
  blows up the entire group plus a legion of cute 
  orphans. The longer he waits with the balled-up 
  paper in his lap, the bigger the penalty you 
  should assess to his combat AV when he finally 
  realizes he ought to be getting rid of it. Even if 
  the player responds quickly, assess him a penalty 
  of 1 if he speaks verbally but doesn't throw the 
  prop "grenade" away.2 Then skip to the paragraph 
  that starts, "Suddenly, black vans ... ," below. 
  If everyone accepts the in media res3 opening 
  sequence with proper good cheer, continue to 
  describe the scene. Keep the 
  other pieces of paper handy 
  for use as future grenades. 
  thank them for their efforts. She thanks Fast 
  Eddie, too, reaching up to pinch him on the 
  cheek. FAST EDDIE'S BODYGUARD looks wor-
  ried to see someone interfering with the big 
  boss, but Eddie smiles and flirts back with her. 
  FAST EDDIE 
  Anything for you, Granny. 
  Fanny pats the most-nervous PC on the 
  shoulder. 
  FANNY 
  Don't worry about the cameras. I know 
  you'll knock 'em dead. 
  Suddenly, black vans screech up the street and 
  stop in front of the orphanage. A legion of 
  badly clad, heavily tattooed Chinese men jump 
  out of the vans, wildly firing faux machine 
  gilllS. The orphans are in danger! 
  FANNY CHAU, the grand-
  motherly activist who rilllS ~ 
  __ ~" 
  Yes, there's no way to avoid the orphanage 
  shoot-out. Quibbling just starts the fracas 
  sooner, and more dangerously. 
  the orphanage, 
  approaches the PCs to 
  
  Kids scream! Officials dive for cover! Fast 
  Eddie's bodyguard catches a grenade and falls 
  windmilling backwards off the risers. He lands 
  with a thump, shielding others from the 
  grenade's impact by smothering its blast with 
  his body. Nonetheless, a shiver of impact rat-
  tles the stage. 
  FAST EDDIE 
  Damn! I promised his aWltie I'd take 
  care of him! 
  Call for initiative checks. The opposition con-
  sists of six mooks for every PC. There are also six 
  for Fast Eddie. Despite the bad guys' upcoming 
  attempts to cover their tracks, he is the true tar-
  get of this attack. 
  Fast Eddie draws his gun and fires back at 
  the mooks. Here are his stats, so you don't have 
  to waste precious head-booting time looking 
  them up in the rulebook. 
  The real threat offered by the mooks is not 
  to the the PCs, but to the various apple-cheeked 
  orphans running about. The PCs' challenge is to 
  take down the punks without endangering the 
  kids. As far as Fast Eddie is concerned, his own 
  safety takes precedence over the survival of a 
  bunch of snot-nosed poor kids. 
  Things That Could Happen 
  During the Fight 
  • 
  Fast Eddie draws on a mook but a PC sees 
  that he is likely to hit a kid instead. If the 
  PC doesn't do something, the kid gets shot. 
  • 
  Mooks grab up kids to use as human shields. 
  • 
  A cowardly, crawling official does the same. 
  • 
  Someone lifts up the heavy wooden podium 
  and heaves it down from the risers onto 
  someone else. 
  • 
  Someone should be conked with a big 
  chrome stanchion. 
  • 
  The ceremonial scissors might be hurled into 
  someone's chest. 
  • 
  The ceremonial ribbon can be used to hog-tie 
  a group of mooks together. A monkish mar-
  tial artist could wield it as a whip-like weapon. 
  • 
  The orphanage has an awning. Characters 
  could jump down from it onto their foes, 
  or duel on top of it. 
  • 
  If forced to fight close-up, the mooks drop 
  their Tec-9s and whip out machetes, at which 
  they are marginally more adept. 
  At the point when more than three quarters 
  of the mooks end up chewing pavement, the 
  rest, perhaps realizing that they're just mooks, 
  get wise and high-tail it back towards their vans 
  (which, by the way, are Pep -2/Wreck 9). They 
  fight only to eliminate obstacles between them-
  selves and escape. They might do something stu-
  pid, though, like shoot up 
  their own vehicles. If not 
  stopped, they try to roar away 
  in the vans. Depending on 
  whether they've preserved 
  any downed mooks for inter-
  rogation, the PCs may wish 
  to give chase in their own 
  vehicles. The mooks fire back-
  wards at pursuing PCs as they 
  careen through the narrow 
  HK streets. 
  ROLL CREDITS. CUE STIR-
  RING THEME MUSIC.5 
  
SOURCE: textdata/thevault/Deduped  Shit/Feng Shui 1/Feng Shui - Bullets at the Orphanage.pdf