WHEN I KNOCKED ON JOE'S DOOR AT NINE O'CLOCK SHARP MONDAY morning, the kitchen table was already set with hot muffins, croissants, cereal, fruit, and freshly brewed coffee. Joe was in his bathrobe and looked completely refreshed. He had obviously gotten a good night's sleep but had risen early enough to prepare that breakfast fit for a king. Joe treated me royally without being condescending. He felt we were entitled to the best treatment, given the class of the operation and the fact that we were out there constantly risking our asses.

After an hour at the kitchen table, we stepped into the study Joe began his dissertation on roulette. If pastposting craps table bang-bang and out, the transition to roulette, I learned, was a' prolonged form of art.

The casino game of roulette is a past poster's paradise. The r is it offers a wide variety of betting propositions and is the only in the online casino where players are always frantically placing their spreading them wildly in what is, more often than not, a race age the clock. On a busy roulette table, by the time the dealer calls "No more bets," you can barely see the numbers on the layout, So' completely cave red are they by the multicolored roulette and online casino chips. That continuous activity leaves little time for the dealer to' rest, and it prevents his clearly seeing every chip an the layout. With this knowledge the skilled postmaster has numerous opportunities.

Roulette pastposting was much mare complicated than what I had seen in craps and blackjack. The objective was the same, to' get the money, but the procedure was entirely different. In craps the moves were boom-boom, and the claims were accusations that the dealers were making mistakes with their payoffs. In roulette the moves were extremely creative, almost artistic. They were designed step by step to' farce the dealer to make certain movements that enabled the past poster to' lay them in at a precise split second. On craps tables you moved right under the dealer's nose. At roulette you moved behind the dealer's back. But you couldn't just move blatantly, as Jerry did on craps tables. You had to create perfect conditions; you had to take control of the dealer's movements.

TO' achieve these ends Joe used a process called check-betting ("checks" is casino' jargon for chips), which comprised numerous betting schemes where your "check-bettors" made predetermined bets with predetermined numbers and colors of chips corresponding to' what you wanted the dealer to ad-how you wanted him to physically move his body, primarily his head. By doing that you created a vulnerability in the dealer's built-in pastpost- protection mechanism that gave your mechanic just enough time to perform the move. The casinos also knew that roulette was a pastposter's Garden of Eden, so in order to get the money you had to be good-real good.

Joe had already covered the blackjack table in his study with a roulette layout he'd bought in a casino supply store. Several stacks of multicolored roulette chips sat neatly in the middle. The clear plastic marker that dealers placed on the winning number stood squarely on double zero. I wondered if Joe had a reason for placing it there. The only thing missing was the roulette wheel itself.

The first move he taught me was fabulous in design. "This move here is called a third-section-straight-up," Joe said as he indicated the bottom third of the roulette layout containing the numbers 25 through 36, and the rectangular third-dozen box that bordered the left side of these numbers. "It's important that you know every detail of the roulette layout like a map. Study it. The fact that it's perfectly symmetrical as far as its betting propositions are concerned aids us immensely. Notice that each dozen numbers-I through 12, 13 through 24, and 2S through 36-have a corresponding 'dozen box' bordering them where you can bet on all the numbers in the dozen at odds of 2 to I. When working in the third section we concern ourselves only with the numbers 2S through 36 and the corresponding third-dozen box ... "

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