Tricks, traps, and shots of the

checkerboard
1. Tricks, traps, and shots of the checkerboard
2. Continue from diagram:
3. Variation 2
4. A Bristol Broadside
5. Capers on the Kelso
6. Variation 1
7. Variation 3
8. A Trap with a Tale
9. California Bold Rush
10. The Shot That Was Heard Around the World
11. STANDARD LAWS OF THE GAME The Standard Board
12. The Standard Men
13. Placing the Men
14. Order of Play
15. Time Limit for Moving
16. Arranging the Men During a Game
17. Touch and Move
18. Capturing Play
19. False or Improper Moves
20. The “Huff” or “Blow”
21. Crowning the Men
22. Drawn Games
23. Conduct of Players and Spectators
24. Match Games
25. Enforcement of the Laws
26. Unforeseen Disputes
Tricks, traps, and shots of the
checkerboard
Ryan, William F. (William Francis), 1907-1954

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♦
Contents
Page

Index of Games v

Introduction i

A Few Don’ts For Duffers 3

How To Study Checkers 6

Basic Ideas 9

Games 20

Standard Laws Of The Game 148

Index of Games
Table captionTHE EDINBURGHS

Table captionPage

9 - 13 , 21 - 17 , 5-9 McKelvie’s Masterpiece 85

9 - 13 , 21 - 17 , 11-15 Diagonal Diagnosis 109

9 - 13 , 22 - 17 , 13-22 Russell's Crocodile 71

9 - 13 , 22 - 17 , 13-22 The Great Lewis Stroke 93

9 - 13 , 22 - 18 , 6-9 The Shot That Was Heard

Around The World 143

9 - 13 , 22 - 18 , 10-15 Bailey’s Blackjack 51

9 - 13 , 22 - 18 , 11-15 A Pretty Slip-Shot 65

9 - 13 , 23 - 19 , 6-9 An Old Familiar 30

9 - 13 , 23 - 19 , 11-15 A Double Boomerang 64

9 - 13 , 24 - 19 , 11-16 The Jacques Shot 95

9 - 13 , 24 - 20 , 6-9 A Study In Structure 47

Table captionDOUBLE CORNER

9 - 14 , 22 - 17 , 11-15 Andy’s Annihilator 44

9 - 14 , 22 - 17 , 11-16 Strickland’s Draw 55

9 - 14 , 22 - 17 , 11-16 Dunne’s Win 98

9 - 14 , 22 - 18 , 5-9 Drummond’s Dead End 21

9 - 14 , 22 - 18 , 5-9 Lieber’s Catapult 102

9 - 14 , 22 - 18 , 5-9 Buchanan’s Block 77

9 - 14 , 22 - 18 , 5-9 Cowan’s Coup 83

9 - 14 , 22 - 18 , 5-9 Denvir’s Demolition 28

9 - 14 , 24 - 19 , 5-9 Ferrie’s Famous Five-Piece

Freeze 112

9 - 14 , 24 - 20 , 10-15 Heffner’s Hurricane 78

Table captionDENNY

Page
10-14, 22-17, 6-10 Another Heffner Gem
79

10-14, 22-17, 7-10 Reed’s Rocket 84

10-14, 23-18, 14-23 The Big Squeeze 70

10-14, 23-19, 11-16 A Six-Move Blitz 24

10-14, 24-19, 11-16 A Twelve-Move Sack 29

10-14, 24-20, 6-10 Hynd’s Hedgehopper 58

10-14, 24-20, 7-10 A Denny Dandy 91

Table captionKELSO

10-15, 21-17, 9-13 California Bold Rush 138

10-15, 21—17 f 6-10 Priest’s Pulverizer 81

10-15, 21—17, 11-16 Jacob’s Jinx 59

10-15, 21-17, 11-16 Freeman’s Flashback 60

10-15, 22-18, 15-22 Decoy For Duffers 21

10-15, 22-18, 15-22 Lee’s Loophole 78

10-15, 22-18, 15-22 Frank Dunne’s Shot 83

10-15, 22-18, 15-22 Capers On The Kelso 126

10-15, 23-18, 11-16 Head's Redeemer 56

10-15, 23-18, 12-16 The Henderson Shot 52

10-15, 23-19, 6-10 Thirkell’s Folly 38

10-15, 23-19, 6-10 • The Fool’s Trap 20

10-15, 24-19, 15-24 Overlooked By Mail 42

10-15, 24-20, 15-19 Workman’s Whizzbang 53

REGULAR

11-15, 21-17, 9-13 Wyllie’s Switcher Swindle 38

11-15, 21-17, 9-13 Mauro’s Seesaw Stroke 104

11-15, 22-17, 15-19 A Hole In The Dyke 23

11-15, 22-17, 15-19 Scott’s Scorcher 68

11-15, 22-18, 15-22 Reed’s Delayed Brooklyn 88

11 15, 22-18, 15-22 Christie’s Shot 61

Table captionvl

Page

11-15, 22-18, 15-22 They’ll Do It Every Time 22

11-15, 22-18, 15-22 The Goose Walk 25

11-15, 23-18, 9-14 Ferrie’s Flourish 57

11-15, 23-18, 9-14 The Champion’s Choice 115

11-15, 23-18, 9-14 A Scotsman’s Scoop 28

11-15, 23-18, 8-11 Tombstones for Tyros 33

11-15, 23-18, 8-11 Sturges’ Steamroller 105

11-15, 23-18, 8-11 Horsfall’s Stroke 36

11-15, 23-18, 8-11 An Interesting Cross Loss 30

11-15, 23-19, 9-14 A Souter Six-Shooter 40

11-15, 23-19, 9-14 Martins’ Masterpiece 69

11-15, 23-19, 9-14 The Pied Piper’s Fife 33

11-15, 23-19, 9-14 A Little Deceiver 39

11-15, 23-19, 9-14 Mclndoe’s Slingshot 43

11-15, 23-19, 9-14 McKelvie’s Jumbo Shot 86

11-15, 23-19, 8-11 The Steel Stroke 48

11-15, 23-19, 8-11 Look Before You Leap 22

11-15, 23-19, 8-11 The Scrub’s Delight 27

11-15, 23-19, 8-11 Reid’s Rocker 35

11-15, 24-19, 15-24 Monty’s King-Pinch 63

11-15, 24-19, 15-24 George Dick’s Gambit 96

11-15, 24-20, 8-11 Wyllie’s Waterloo 89

11-15, 24-20, 8-11 Sullivan’s Catch 92

11-15, 24-20, 8-11 Ryan’s Bell Ringer 67

11-15, 24-20, 8-11 Beeswax Block Buster 32

11-15, 24-20, 8-11 An Old Lassie Catch 25

Table captionBRISTOL

11-16, 21-17, 9-13 Semple’s Eye-Opener 87

11-16, 22-17, 16-20 Searight’s Escape 75

11-16, 22-18, 16-20 Willie’s Windmill 72

11-16, 23-18, 16-20 Shearer’s Cleaver 54

11-16, 23-18, 16-20 Clayton’s Clipper 82

 vii

Page

11-16, 23-18, 16-20 Canalejas’ Cannonball 20

11-16, 24-19, 8-11 The Paisley Pickle Barrel 50

11-16, 24-19, 8-11 The Jaywalker Gambit 100

11-16, 24-19, 8-11 A Trap With A Tale 135

11-16, 24-19, 8-11 A Paisley Shocker 41

11-16, 24-20, 16-19 Basil’s Bonanza 66

11-16, 24-20, 16-19 Martins’ Meatchopper 73

11-16, 24-20, 16-19 Fuller’s Brushdownl 75

11-16, 24-20, 16-19 When Wyllie Wavered 80

11-16, 24-20, 16-19 Bumped Off On The Run-Off 26

11-16, 24-20, 16-19 A Bristol Broadside 120

11-16, 24-20, 16-19 Reed’s Rattler 46

11- 16, 24-20, 16-19 Scott’s Scalper 62

DUNDEE

12- 16, 24-20, 8-12 Barker’s Bounce 37

12-16, 24-20, 8-12 Goldsboro’s Guillotine 74

vlti
INTRODUCTION
BEFORE you delve further into this book, I hope that you will linger
here long enough to absorb the important over-all guidance
contained in the following pages, so that all the succeeding chapters
may be approached in their relative and designated arrangement.

“ Tricks , Traps , and Shots of the Checkerboard 5> is an elaborate

compilation of all the time-tested scientific coups that champions
have been using since the heyday of James Wyllie to inveigle the
careless or inexperienced player. Unlike any previous book of its
kind, every example in this book is the product of scientific play.
Positions that can be brought up only in play through a comedy of
errors have been omitted because such traps have absolutely no
practical value to the scientific player.

The beginner may pose the question, “What is a trap or shot in

checkers ? 55 A trap or shot, also known as a stroke or a coup, is
the removal of several pieces from play by a successive series of
jumps. It is not uncommon for skillful players to execute a clearance
of eight or more pieces from the board in one continuing operation of
jumps. Before the learner can hope to cope with the strategical
phases of scientific checker play, he must first develop an
understanding of the tactical characteristics of the game. The
purpose of this book is to classify, identify, and define the most
common varieties of stroke technique, which is the major factor in all
tactical play.

At various times in the past, authors of checker books have

presented compilations of traps and shots to exhibit the spectacular
mechanics of checker play. A careful examination of

these coups reveals that in a large percentage of cases the trapper

exposes himself to a very weak or losing move in order to lure the
victim to his lair. To say the least, this is a disastrous practice when
playing in fast company. No skilled exponent of the science would
ever consider making a losing move merely in the hope of winning a
game on a trap. A beginner who allows himself to be swayed into the
habit-forming practice of sacrificing security of position to set a trap
is putting all his eggs in one basket. Every student who aspires to
make a mark in the game must constantly bear in mind that the only
time to play for a trap is when the coup is incidental to the
procedures and processes of scientific play.

My readers are assured that in this book the details are in orderly
sequence. Every page is a guidepost to the next, and there are r\o
detours or back-ups to pick up lost trails. What I have tried to do in
this book is first to acquaint the novice with all the early losses in the
openings. Then, in the succeeding pages, I gradually lead up to the
more advanced traps and stratagems showing how even champions
have been put to rout by the baffling components of concealed
coups. It is important, therefore, that the student start his study at the
beginning of this book, since in this way he will come to learn that
the very same technical devices involved in elementary lessons are
used in more elaborate form in high-level strategy. The basic ideas in
checkers never change. What often appears to the beginner to be
complex strategy is really nothing more than a fusion or an
interlocking of basic ideas.

Finally, the question arises, “Just how important is the stroke or shot
in the practice of scientific play?” The answer is at once obvious
when we stop to consider that it is almost impossible for anyone to
play a complete game, from start to finish, without at least once
threatening to negotiate a shot, in order to prosecute an objective. It
is true that most wins scored among champions are premised on
factors of position 2

and not on strokes, yet the fact remains that a large percentage of
these wins are brought about by the attacking player threatening the
execution of a stroke. The defending player, in order to avoid the
shot, is thus forced into a losing position. Hence, we would be
grossly underrating the value of stroke strategy if we were merely to
calculate its relative importance on the basis of wins scored on
shots, as compared with wins obtained by other tactical methods.
The threat of taking a stroke is a powerful preventative and
restrictive force in scientific play.

The counsel in the preceding paragraphs is sufficient to guide any

serious student of checkers away from the popular notion that a
sweeping stroke is an oddity or peculiarity of play. The material in
this book, with its historical as well as technical evidence,
conclusively proves that a practical stroke is an indispensable and
ingenious servant to the master who fully understands the flexible
procedures and processes of scientific play.

A Few DorTts For Beginners

Don't be a speed demon. You simply can’t get anywhere playing

“skittle” checkers. Champion Nathan Rubin, of Detroit, once wrote,
“He who moves in haste will repent in leisure,” and truer words than
these have never been written. Make a practice of taking at least two
full minutes (preferably longer) on each move. During this period, try
to formulate in your mind what move you will take against each
plausible move your opponent might make on his next turn. This will
soon develop your powers of concentration, anticipation, and
visualization. Remember—it’s not how many games you play that
counts, but the play in your games. If your opponent objects to your
slow rate of moving, avoid playing with him. For no proficient player
will question your right, under the official rules of play, to take up to
five minutes per move.

Don't make a practice of playing regularly with those you can beat. It
stands to reason you can’t learn much, if anything, from an inferior
adversary. Seek out those who play better than you do, the stronger
the better. If superior players decline competition with you on the
grounds that you do not play well enough to hold their interest, then
make inducements to obtain their time and talents. A competent
player makes a good teacher, and his services are always in
demand. ’Tis much better to pay the doctor’s bill than to waste away
with an uncured ill!
Don't study or play when you're mentally tired or physically ex
hausted. If your major aim is to improve your play, plan your
sessions at the board so that you will sit down refreshed and eager
to begin. Your mind will then be clear and receptive, and you will
learn faster and play better. Although many people play checkers for
relaxation and pleasure only, the fact remains that the nature of the
game is such that it cannot be played well, nor can it be enjoyed to
the full, if the mental or physical faculties are impaired by fatigue.

Don't spend long periods of time at the board . Tomorrow is another

day to look forward to. When you play the game, give it everything
you have, but don’t overdo. Three hours at a time is a sensible
maximum. Impairment of vision, excessive nervousness, and
irritability are among the inevitable penalties suffered by overzealous
scholars in any field of scientific or intellectual endeavor.

Don't play with dirty equipment . Take a staunch pride in your hobby,
and be a salesman for it whenever the opportunity arises. Aside from
the fact that good playing equipment is an absolute prerequisite to
proficient play, the use of dirty or dilapidated boards or checkers is
certain to scare decent folks away from our game.

Don't be a squarehead. Many third-class players, flushed by a little

success against mediocre opponents, develop illusions of
Napoleonic grandeur with regard to their skill as checker

players, when in reality they are still relatively inexperienced. Keep

your feet on the ground, and don’t be afraid of losing a reputation
you don’t have. In short, humble yourself while in the company of
other checker players, and don’t let a little success at the board
develop you into an egocentric. Play the game to win, but act like a
human being. Lose in silence and with retiring grace, and bear your
successes in a spirit of modesty and congeniality.

Don't be a robot. Never lose the same game more than once.
Champions agree that the greatest single failing of the average
checker player is his tendency to play by method or rote, when
flexibility and imagination are required most. When you lose a game,
go home and conduct a private post-mortem on your play. Use your
library of checker books to find out where you made the losing move,
and then reform your future play accordingly. If a lost game cannot
be rectified by reference to book play, then work on the position
yourself (analyze it) and use your own analyzed play in future
games, unless and until it is found faulty in the light of subsequent
trials. In such case, analyze the position again and again, until you
lose no more games using it. In short, practice progressive
reformation of your play. There is no other way to the top.

Finally , don't be a fanatic. If you expect other people to respect your

hobby, take care not to make a mockery of it. Avoid projecting
checkers into every conversation or situation merely because you
like it. If others ridicule checkers, don’t take offense. Save your
discussion for those who enjoy the same hobby as you do.

HOW TO STUDY CHECKERS

FOR the benefit of those who have never studied checkers from a
book, the following preliminary pointers are in order. The standard
checkerboard is comprised of 64 squares; 32 dark squares and 32
light, or neutral, squares. The official playing board in America is of
green and buff squares, and the champion players have found this
color combination far superior to any other.

The pieces are set on the dark squares, with the so-called “double
corner 55 in the lower right-hand corner. Perhaps a better rule is to
make sure that the corner square on the bottom right-hand side of
the board is a light square. Diagram 1 shows the proper position of
the board and the pieces set for play. However, in Diagram 1, the
pieces are printed on the light squares for typographical clarity.
Hence, the light squares in Diagram 1 actually represent the dark
squares on your board, and the dark squares represent the light
ones.
DIAGRAM 1 DIAGRAM 2

Diagram 2 shows a numbered board, better described as the

standard notation charts by which play in the game of checkers is
recorded.

After the board has been numbered and the pieces have been set
for play as in Diagram 1 (make sure that the black pieces occupy
squares 1 to 12) we are ready to begin play. Now, let us momentarily
turn to Everett Fuller’s beautiful game in this book, on page 75. It will
be noted that the first set of figures at the top of the first column
reads 11-16. That means black moves from square 11 to square 16.
The rest is easy. You make the moves on your own board, as
dictated by the columns of figures, until the entire game has been
completed. The game is read like a timetable—down one column of
figures, returning to the top of column two, and so on.

Checkers is principally a game of analysis, and although checker

books do occasionally omit important points of play, and sometimes
even offer faulty analysis, such instances are exceptions and not the
rule. Moves not treated by a qualified authority in a compilation of
play are usually inferior. If an author is not an accomplished player
himself, there is a strong probability that his examples of play will
involve a high percentage of misleading and faulty material. Since
checkers is essentially a game of skill, initiative, and individual
projection, the beginner should take care to select his teachers with
the same wisdom he would exercise if he sought counsel and help in
any other field of endeavor. When you study play in checker books,
the first thing to look for is the “trademark 55 on the play; that is to
say, the reputation of the author to whom the play is credited. Study
the recommendations and plays of the recognized master players.
Be wary of any play credited to a mediocre player; it may be as
mediocre as his skill! To be a champion checker player, study
champions 5 games, and do as champions do.

The student should note that the letter and number appearing beside
a figure in the columns of play denote points of reference or
discussion in the play. For example: 9-14— A,2. The letter A after 9-
14 refers to Note A, which follows immediately below the variation.
The digit 2 means Variation 2, indicating that instead of 9-14, there is
alternative play

shown in Variation 2. The reader will sometimes encounter a move

with an asterisk; for example: 22-18 *. This is commonly called a star
move. The asterisk (*) denotes that 22—18 * is the only move to win
or draw (as the case may be), or that it is the only move to avoid
critical and protracted end-game play. Some authors use the asterisk
only to indicate when a particular move is the only one to win or
draw. However, countless situations arise in play where it is
necessary to identify a move as singularly superior, in order to steer
the learner away from inadvisable alternatives.

Well, you now have all the necessary information to begin. Dig in—
intelligently!

BASIC IDEAS

The Bare Plan of Scientific Play

THE various elementary checker situations that we will discuss on
the following pages have been prepared for beginners. All the
positions presented are practical, simplified examples of
fundamental checker strategy. By carefully reading the introductory
remarks to each position, the alert tyro will be able to obtain leads,
tips, or hints as to how the terms to each situation are negotiated.

To be a good player (or a good problem solver) the neophyte must

first become familiar with a wide variety of playing devices or ideas,
in exactly the same way a student writer develops his familiarity with
word usage to improve his journalism. The writer works with words,
and the extent of his success depends on how many he has at his
command and how effectively he can use them to stimulate thought.
The checker player works with ideas, and the extent of his ability
depends on how many he has at his command, and how effectively
he can use them in determining the best move in any position.

Checker ideas are as numerous as words, but it is not necessary to

know a great number to gain a “progressive insight” into the higher
phases of scientific play. The basic ideas are easily learned by any
conscientious student, and once mastered will carry him into deeper
channels of study and advancement. In checkers, the beginning is
toughest. Once the learner gets the scientific “feel” of the game,
progress is rapid and every game brings greater pleasure.

The thought we are trying to convey here is that the idea is the thing,
and a good idea supersedes all other considerations in board
generalship. In checkers, an idea may be of singular

character, or a blended combination of two or more ideas worked

into one coordinated plan or sequence of moves. It is important to
point out to the novice that in the beginning he should concentrate
on working with ideas, as it is impossible to become a finished
strategist without first being a graduate tactician. Ideas are the
tactical servants by which strategy is carried out. If a player cannot
grasp the “tactical potential 55 of a position before him, his
strategical computations are certain to be faulty. In other words,
strategy in checkers is the objective or over-all plan of play, wherein
tactics (ideas) are used to support the objective. Therefore, one
cannot accurately conceive a good strategical plan without full
consciousness of all tactical possibilities—awareness of all
applicable ideas to a particular position.

Finally, it should be remembered that checkers cannot be accurately

gauged by any academic approach. The game has always been an
intellectual art in which knowledge, experience, and individual
ingenuity are equally essential to advancement; but of these
requisites ingenuity (the inventive touch) is by far the most important.

Now let us take the board out and see how easy it is to put ideas to
work. The reader should bear in mind that in setting up the study
positions on the following pages, the black pieces are invariably
moving down the board, the white pieces moving towards the top of
the page. Solutions to these situations will be found on page 146.

A guileless amateur would be tempted to run for a king in Example 1,

by moving 22-17; but black has a sure draw against that move by 7-
11, 17-13, 11-16, 13-9,

16-19, etc. Instead of 22-17, white can make a win immediately by

executing an elementary maneuver known as a “double exposure
slip, 55 which means that white can end all resistance by exposing
two of black’s pieces to capture at the same time. With this broad
hint, the tyro should conceive the idea that gives black the heave-ho.
A good plan for the beginner to adopt in studying a position is to
allow himself a limited time, say five minutes, in which to find the
right play without moving a piece; and failing in this, to consult the
solution. This method enables the learner to correct his faulty
calculations before they take root in his mind.

Again in Example 2, Mr. Tyro’s policy of trying for a king by 18-14 is

worthless, as black replies 6-9, 14-10, 13-17, 21-14, 9-18, with an
easy draw in store. White simply does not have enough strength
(placement of material) of position to make a strategical win, but in
this case as in many others, a win can be effected by a tactical coup
commonly termed “a compound stroke,” so named because an
opposing piece becomes an integral part of the scheme. In this
example, we have the simplest form of a single corner compound in
which the winning idea involves the single corner file or so-called
“long diagonal.”

EXAMPLE 2

Whitw tm Play and Win

EXAMPLE 3

Basic ideas never change, but they may occur on different areas of
the board with more or fewer pieces involved. In Example 3, we have
a snap layout of a double corner compound in which the winning
plan is precisely the same as the one used in Example 2, but the
arrangement of the pieces is different. A common fault of the
beginner is his tendency to associate a particular tactieal idea with
only one position. This is undoubtedly an obstruction to progress.
The main purpose of studying a problem position is to master the
idea (or ideas) it illustrates so that the student may use it in any other
situation where the same idea can be successfully applied.
One of the more spectacular fundamental principles is the “smother
55 idea. Example 4 frames an easy setting of a delayed smother
coup in which first black’s piece on square 22 is driven to a fatal spot
(square 25), and then white makes two sacrifices in succession,
winning by a weird tie-up. The description given to each example in
this review of basic ideas is intended to help the reader to develop
concepts of logical procedure. If we say “delayed smother” we mean
the smother is not immediate, but that white can force black to make
a certain move (or moves) that enables white to drive black into the
coup position.

EXAMPLE 4

WbHo to Ploy and Win

Like all other tactical schemes, the delayed smother play can occur
on other parts of the board with varying arrangements of the pieces.

Example 5 shows a natural-looking ending in which white can neatly

bottle up black’s pieces in just five moves, by a delayed double
corner “jam.” Examples 4 and 5 illustrate but two types of the
smother play; there are several other varieties including blocks,
freezes, lock-ups, and the smother pinch. Indeed, checker ideas are
as numerous as words, and each one has a meaning of its own, and
a special adaptability in the course of scientific play.

The situation on the right is still another member of the smother

family. To press home the win in Example 6, white must actually
coordinate the germs of two different tactical ideas, employing the
smother as the winning device and using the seesaw shift (as in
Example 11) as the timing element by which the smother is
executed. When two or more tactical ideas are woven into a
procedure of force, we call it a “combination.” Positions are always
popping up in play where it is necessary to grapple with a dozen or
more ideas in order to force a scientific win, or obtain a delicate
draw!

EXAMPLE 7

Take a good look at this simple little two-by-two setting. If that white
piece on square 14 could i speak up, he’d probably lament, “Woe is
me. I can’t move to the left, and I can’t move to the right, and the
black monarch (on square 25) is advancing to put me to flight.”
White’s king on square 32 Whhm to Play an d Draw is seemingly too
far away to save

the endangered piece on 14, but thanks to the old reliable “sideboard
seesaw” idea, Example 7 has a happy ending. A thorough grounding
in simple tactical tidbits, like the “sideboard seesaw,” will soon put a
novice in the advanced player’s class. It’s the flair for small details in
basic study that makes the proficient player.
EXAMPLE 8

As we have already stressed in previous examples of “ideas at

work,” the novice should avoid associating any idea with only one or
a few situations, because all ideas have a wide range of scientific
application, and the seesaw is no exception. Example 8 highlights an
early phase of the most common of all seesaw situations, the single
corner hold. Black must move 11-16, then

19-15, 16-20; now white crowns the piece on 18, returns to square 6,
and then plays 15-10, threatening to win by 10-7 next. All this is part
of the general plan, with black, just in the nick of time, imprisoning
white in the single corner.

14

Example 9 is such a simple win that white can polish off black in just
three of his own moves; and yet this “pitch-a-piece and block” coup
has been muffed even by better class players. At first glance, white
appears to have a win by playing 32-28, but black counters with 14-
17, 22-13, 7-10, 13-9, 10-14,

19-15, 16-19, 23-16, 12-19, 9-6,

14-18, and steals the piece on square 27 to draw. One of the most
fascinating factors in scientific checker play is the element of
surprise. Example 9 features a position that, by ordinary processes
of play, can only be drawn; but a jolting pitch (sacrifice) at the right
moment changes the complexion of the situation decisively.

EXAMPLE 9

Whit a to Play and Win

example io White doesn’t have the move or

opposition to win in Example 10, and there appears to be no way to

effect an exchange to get it. This poses the question, “Is there any
way white can alter the move in Example 10 without actually making
an exchange?” The answer is yes—by the “pitch and grip” idea. The
pitch and grip is precisely what the term implies. You pitch a piece
and then apply a grip that forces black to lose not only a piece but
the move and the game as well. Some of the ideas we have
discussed in this chapter occur more often than others in play, but all
are equally important to mastery of the game. Usage of all sorts of
ideas is what makes checkers a fascinating study and a challenge to
one’s ingenuity.

15
EXAMPLE 11

The issue is clearly drawn in Example 11. The white king on square
22 has a strangle hold on black’s pieces on squares 13 and 29, but
the black king on square 1 is threatening to go 1-5 next, followed in
order by 5-9 and 9-14, and then releasing his impounded pieces by
squeezing 14-17, thus driving the white king on square 22 from its
potent position. The proposition, therefore, is for white to maintain
control of square 22 by preventing the black king on square 1 from
effectively advancing up to square 14. This is artistically
accomplished by the “shift and stem” principle. It’s easy to master
these tactical “killers” with step-by-step study.

And now we come to one of the example 12

most common of all tactical tricks— the ever useful pinch play. As
the term suggests, a pinch is a move that puts pressure on an
opposing piece so that it cannot avoid capture, whereas in a
“squeeze” play the threatened piece can avoid capture by moving to
an adjoining square.

All checker strategy is premised on force, carried out by tactical

devices,

and the pinch and squeeze are two of the most frequently employed
weapons of the adroit tactician. Example 12 is a sparkling illustration
of a delayed pinch, wherein white eventually forces black to lose a
piece (and the game) by a perfectly timed pincer.
EXAMPLE 13

A little logic should make the issue clear in Example 13. Black is a
piece ahead, but the white king on square 11 is pressing (chasing)
an attack from the rear. The natural course for black is to avoid
capture by going 16-20, white chasing 1116, black running 19-23,
white pursuing 16-19, and there you have it—black seemingly must
lose the piece on 23 or 24. That’s the apparent outcome of the
situation, but actually black can win in five of his own moves by
trapping white on a two-way double or “optional take.” The one thing
to keep foremost in mind, when you are a piece ahead and your
opponent is threatening to retrieve it, is to look for an idea that will
make the retrieve

One does not master mathematics by studying trigonometry, solid

geometry, or analytics at the start. The would-be mathematician
must first ground himself in the basic study of addition, multiplication,
subtraction, and division before he can cope with the abstract
phases of advanced mathematics. Similarly, one cannot become an
adept checker strategist without extensive training in the art of
tactics. Look at the three-by-three ending in Example 14, by the well-
known American problemist, Paul R. Semple, of Martins Ferry, Ohio.
Can you take the white pieces, and without moving a piece, win in
ten moves by executing a “throwback two-for-one”? If you can’t,
don’t divert your study to any other phase of the game until you

17

fatal!

EXAMPLE 14
can see right through these snap traps in the twinkling of an

eye!

EXAMPLE 15

Whito to Play and Win

Ordinarily, white’s cause in Example 15 would be hopeless. With the

pieces even, and black’s king on square 14 in a powerful center-
ofthe-board position and the black piece on square 27 about to be
crowned, further play seems to be futile. Despite all these symptoms
of distress, white can engineer a flashy cul-de-sac in four of his own
moves by resort to a “hook-up triple” or “aligned triple take.”
Alignment is the chief implement of all stroke and shot play. It means
using ideas to force pieces onto certain squares by squeezing or
pitching, so as to align (place) several pieces in position for
successive capture. Can you force a triple take in Example 15?
That’s all there is to it!

Nothing so delights the beginner example i 6

as a sweeping coup in which a number of pieces are swept from the
board in one series of jumps. A casual glance at Example 16 does
not impart the slightest suggestion of an impending coup, but
nevertheless a “delayed long-range triple” is in the offing. The white
king on square 14, with the help of the piece on 21, makes a few
well-forced preliminary moves and then, presto! the game is
suddenly climaxed with a ripping three-for-three shot, using what is
known as a “throwback” technique. This give-away hint should
enable rookie readers to develop some crafty ideas on how to
handle the white pieces to make a win.

18

W/iif« to Play and Win

EXAMPLE 17

Many a losing position has been won or drawn, in the last minute of
play, by a brilliant series of startling moves. Example 17 pictures
white in what appears to be a hopeless predicament; yet white can
turn the tables to win by a neat “backup and throwback” stratagem
that is as pleasing as it is deceptive. The backup idea is employed to
get tactical support or “backing” from an opponent’s piece—to use
that piece as one of your own men. All compound shots are
essentially based on the backup principle. A throwback or “pitch-out”
is a clever method of ousting an opponent’s king from your king row
(by sacrificing one or more pieces) in order to capture it on the
bound.
EXAMPLE 18

For our closing study, Example 18, we feature an advanced player’s

problem that brings into play some of the tactical ideas we have
discussed in the preceding examples. Instead of expecting our
beginners to solve this chestnut, we will briefly review the solution
and denote the play, step by step. White starts the winning attack by
“squeezing” 1612; black must avoid capture by playing 8-11 as the
“sacrifice” by 26-31, 12-3, 31-27, loses by 23-18, 27-23, 19-15, 23-
14, 15-10, 14-7, 3-10, and black’s piece on square 22 is a sitting
duck. After 8-11, white continues the campaign of “force” by going
23-18, exposing black’s man on 26 to capture; hence, black must
crown 26-31. The attack is relentless; white now presses 19-15 and
black must move 11-16 to avoid capture. Now comes the surprise;

19

Whif« to Play and Win

white “squeezes 55 30-26, forcing black to square 25. The stage is

now set for the final act. White plays 12-8, permitting black to jump
31-22, followed by the “slip” 15-11, 22-15; and then comes the
crusher with 8-4, 15-8, 4-27; and white wins.

Don Canalejas’ Cannonball

Almost 300 years ago, a Spanish mathematician, Don Canalejas,
pointed out the most famous of all booby traps, a five-move
demoralizer. This is the first pitfall the student should learn to avoid.
Set the pieces up for play. Then move 11-16, 23-18, 16-20, 24-19, 8-
11— A, forming the position on the ad

Whit • to Play and Win \ r

joining diagram. Continue: 19-15, 10-19, 18-14, 9-18, 22-8, 4-11, 27-
24, 20-27, 31-8; white wins. The correct move at A is 10-14.

The Fool’s Trap

Another premature opening procedure, which frequently
embarrasses the beginner before he gets half started, is the FooPs
Trap, another five-move paralyzer second in importance to
Canalejas 5 Stroke.

Set the pieces up for play. Then move 10-15, 23-19, 6-10, 22-17,

11-16— A, and we arrive at the situation shown on the diagram.

White now ends all by 17-13, 16-23, 13-6, 2-9, 27-2; white wins.
Instead of 11-16 at A , black should play 1-6 to draw.

Drummond's Dead End

Among the relatively few pitfalls I have used hundreds of times in my
exhibition demonstrations, this old acorn by bumptious John
Drummond, a fiery Scotsman with a pronounced talent at draughts,
ranks high. Rack up the pieces. Then move: 9-14, 22-18, 5-9, 25-22,

11-16, 29-25, 16-20, 24-19, 8-11,

28-24— A, forming the position shown on the diagram. Black now
forces white into a dead end by: 11-16, 18-15, 4-8, 22-18, 7-11, 26-
22, 1-5, 31-26, 3-7, 32-28, 9-13, 18-9, 11-18, 22-15, 5-14, 25-22, 14-
18; black wins.

A —No hope for white after this. The only move to draw is: 21-17,
14-21, 18-15, 11-18, 23-5, 4-8, 22-18, 20-24, 27-20, 8-11, 18-14, 10-
17, 26-23, 6-10, 31-26, 10-14, 25-22, 11-16, 22-13, 21-25, 30-21, 14-
18, 20-11, 7-16, 23-14, 16-30, etc. Wm. F. Ryan .

Decoy For Duffers

This eight-move plot has led countless novices of the game to a
defeat begotten by careless procedure. Let’s set the pieces up for
play. Now move 10-15, 22-18, 1522, 25-18, 6-10, 29-25, 10-15; at
this point, 25-22 —A loses, bringing us to the layout on the diagram.
Black puts the game on ice with 15-19, 23-16, 12-19, 24-15, 9-14,
18-9, 11-25, 9-6, 2-9, 21-17, 25-29, 17-13, 9-14, etc. At A , white can
play either 26-22 or 18-14 with a firm position in hand.

Blatk to Play and Win

They’ll Do It Every Time!

Here is a quick play on the ancient single corner opening that has
been dropping the duffers since the days of Anderson and Wyllie.
I’ve scored with this one on countless occasions in my exhibitions.
11-15 24-19 9-13

22-18 10-15 17-14

15-22 19-10 11-15

25-18 6-22 28-24

8-11 26-17 4- 8

White to Play and Win

And now white ends all with: 21-17, 13-22, 14-10, 7-14, 2318, 14-23,
27-4, 12-16, 30-26; white wins.

A —Caught! Either 1-6 or 15-18 will draw.

Look Before You Leap

One of the first lessons a beginner learns by sad experience is that
moves that appear worthy are often the stepping stones to sudden
defeat. The accompanying game illustrates the ever present danger
of making plausible-looking moves without first considering the
consequences of all possible replies. The following sequence of
moves creates the pattern in the diagram:

22
11-15 15-18

23-19 24-20

8-11 9-14

22-17 28-24

4- 8 10-15

17-13 19-10

6-15 26-23 12-16 —A.

White to Play and Win

Continue: 23-19, 16-23, 20-16, 11-20, 25-22, 18-25, 27-4, 20-27, 32-
23, 1-6, 29-22; white wins.

A —A natural advance that turns into a rout. The correct moves are:
15-19, 24-15, 5-9, 13-6, 1-26, 31-15, 11-18, 25-22, etc., resuiting in a
draw.

A Hole In The Dyke

The struggling tyro seems to have an unexplainable “aptitude” for
walking into the following shot with his eyes wide open. I have
scored with it innumerable times. To arrive at the position on the
diagram, move:

11- 15 24-15 11-15

22- 17 10-19 27-23— C.

15-19 —A 25-22

23- 16 8-11

12- 19 29-25 —B

Black to Play and Win

Continue from the diagram: 9-13, 23-16, 15 18, !2 15. I l black wins.

A — Forms the Dyke, a standard opening.

B — A very weak move, but drawable; 27-23 or 17-13 would be

better.

C—Hooked! The following series of moves draws narrowly and

corrects important play by F. Tescheleit: 17-13, 4-8, 21-17 *, 7-10,
27-23, 8-12, 23-16, 12-19, 31-27 * (the only move to draw, correcting
Tescheleit, who gives 32-27 to a black win), 2-7 (if 3-8, 17-14 draws;
if 9-14, 27-23 draws), 27-23, 19-24, 28-19, 15-24,

23- 18, 7-11, 17-14, 10-17, 25-21, 3-7, 21-14, 24-28 (11-16,14-10,
white wins), 22-17, 11-16, 26-22, 16-19, 30-26, 7-11 *, 14-10, 6-15,
13—6, 1-10, 18-14, 19-23, etc., drawn. Wm. F. Ryan.
A Six-Move Blitz
Among the most effective sixmove killers is this well-known example
on the Denny opening. Set up the pieces for play. Now move 10-14,
23-19, 11-16, 26-23, 9-13, 24-20— A, and we get the layout of
pieces pictured here. Black now shoots the works by 14-17, 21-14,
6-10, 20-11, 10-26, 31-22, 8-31, and it’s all over but the shouting.

At A, instead of 24-20, white can get a good game by 22-17, 13-22,

25-9, 5-14, 29-25, 7-11, 25-22 (not 24-20, 14-18), 6-10, 22-18, 1-5,
18-9, 5-14, 30-25, 11-15, 25-22, 16-20, 22-17, 8-11, 17-13, 2 - 6 , 31-
26, 12-16, 19-12, 11-16, 13-9, 6-13, 26-22, 16-19, 23-16, 3-7, 22-18,
15-22, 16-11, 7-16,

24- 19, 16-23, 27-9, 10-15, 9-6, 22-26, 6-2, 15-19, 32-27, 4-8*, 12-3,
26-31; resulting in a draw.

24

The Goose Walk

Still another first-round knockout that has tripped many a tyro is the
deadly Goose Walk, a favorite coup de grace of the experts for over
150 years. It is also known as the “Old Farmer,” but by any name it’s
dynamite to the neophyte. Here’s the run-up:

11-15 29-25

22-18 —A 4- 8
15-22 24-20

25-18 10-15

8-11 25-22

12-16 27-24— B. See the diagram.

Black to Play and Win

Proceed: 15-19, 24-15, 16-19, 23-16, 9-14, 18-9, 11-25, 32-27, 5-14,
27-23, 6-10, 28-24, 8-11, and with black due to crown his piece on
25 in a few moves, white’s predicament is hopeless.

A — This trade-off identifies the single corner opening. More play

has been published on it than on any other lead-off. It makes an
even game.

B — This and 28-24 lose, allowing the Goose Walk, first shown by
William Payne in 1756. The correct moves are: 21-17, 8-12, 17-13,
etc.

An Old Lassie Catch

Ever since 1800, champions have been baiting beginners with the
snap-trap on the Ayrshire Lassie opening outlined on the next page.
Every learner has to become familiar with the basic ideas behind
these elementary snares if he hopes to reach the expert class.
25

11-15 15-18 11-18

24-20 22-15 30-26

8-11 11-18 8-11

28-24 26-22 26-22— A.

4- 8 7-11 See the

23-19 22-15 diagram

BJocIt #o Play and Win

Continue from diagram: 11-16, 20 - 11 , 3-7, 22-15, 7-23, 27-18, 10-

28; black wins.

A —The bad one. The correct moves are: 25-22, 18-25, 29-22, 11-
15, 27-23, 9-13, 32-28, 6-9, 19-16, 12-19, 23-16, 9-14, 24—19^ 15-
24, 28-19, 2-6, 26-23, 10-15, 19-10, 6-15, 16-11, 1-6, 31-27, 6 - 9, 11
—7, 3—10, 27—24, 15—18, 22—6, 14—17, 21—14, 9—27, ending
in a draw.

Bumped Off on the Run-OfF

As a general rule, it is sound strategy to attack an advanced piece by
squeezing or running it off. In the following example we have a good
illustration of what can happen when a player tries to maintain an
advanced piece against tactical pressure.

11-16

24-20

16-19

23-16

12-19

22-18 8-11 27-23 4- 8 23-16

8-12

32-27

12-19

27-23

Wh/f* to Play and Win

And now comes the bump-off by 23-16, 8 - 12 , 21-17, 12-19, 18-14,

9-18, 26-23, 18-27, 31-8; and white wins.

A —Black gets a rude awakening after this plausible push. The right
route to draw is: 11-16, 20-11, 7-16, 18-15, 9-14, 15-11 (25-22, 6-9
draws), 6-9, 25-22, 9-13, 22-18, 10-15, 18-9, 5-14, 29-25, 15-18, 26-
22, 18-27, 31-15, 2-6, etc.
11-15

23-19 8-11 22-17 4- 8 —A 17-13 15-18

The Scrub’s Delight

24-20 6 - 9

11-15 13- 6

28-24 2- 9

8-11 26-22

26-23 9-13

9-14

31-26

Whifa to Play and Win

The illustrated layout was one of the earliest standard pitfalls to be

recorded in checker literature, being first shown, in 1800, by that
pioneer chronicler of the checker art, Joshua Sturges. Appropriately
labeled “The Scrub’s Delight , 51 it has probably dropped more
novices than any other trap on the board.

Continue from diagram: 22-17, 13-22, 20-16, 11 - 20 , 21-17, 14-21,

23-14, 10-17, 25-22, 17-22, 19-15, 21-25, 30-21, 22-26, 15-10, 26-
31, 29-25, etc., and white wins.

A —Completes the Old Fourteenth opening, one of the first and most
popular developments tackled by the learner. Winning chances are
about equal.

B —Time-tested standard play to here. The text loses, forming the

Scrub’s Delight. The correct play to force a draw is: 1-6, 22-17, 18-
22, 25-18, 15-22, 23-18, 14-23, 27-18, 9-13, 17-14, 10-17, 21-14, 6-
10, 30-25, 10-17, 25-21, 22-26, 21-14, 26-31, 19-15, 31-26, 15-8,
26-22, 32-28, 22-15, 24-19, etc.

A Scotsman’s Scoop
I am unable to find the appended trim snare recorded by any
previous connoisseur of the stroke art. It was shown to me by Paul
R. Semple, of Martins Ferry, Ohio, who reports he got it from an old
Scotsman. Old or new, it’s a practical example and belongs in every
checker enthusiast’s notebook. Move:
11-15 22-17 5- 9

23-18 4- 8 30-26

9-14 26-23 9-13— A.

18-11 7-11 See the

8-15 23-19 diagram.

Whit* to Ploy and Win

Continue: 19-16, 12-19, 27-23, 13-22, 23-7, 2-11, 25-2; white wins.

A —This is where black bites the dust. The following moves will bring
about a draw: 15-18, 19-15, 10-19, 17-10, 6-15, 27-23, 18-27, 32-7,
3-10, 26-23, 8-11, 25-22, 9-14, 29-25, 2-6, 22-17, 15-18, 24-19, 18-
27, 31-24, 11-15, 24-20, 15-24, 28-19, 14-18, 17-14, etc. Wm. F.
Ryan.

Denvir’s Demolition

9-14 8-11 4^

oo
22-18 27-24 —A 19-15

5- 9 16-20 10-19

25-22 31-27 24-15

11-16 11-16 7-11

24-19 29-25 22-17

28

Black to Play and Win

The stage is all set for a startling stroke, leaving white hopelessly
beaten. This clever whirligig is generally credited to the late John T.
Denvir, of Chicago, but it was probably known and shown by other
champions before he was born.

Continue from diagram: 16-19*, 17-10, 19-24*, 28-19, 9-14, 18-9, 11-
18, 23-14, 6-31, and black wins.

A — A losing move often made by beginners, after which there is no

scientific salvation. Either 22-17, 30-25, or 28-24 will draw.

A Twelve-Move Sack
It takes only one bad move to make a total wreck out of a good
healthy position, as the reader will note from a cursory examination
of this well-known 12-move mop-up. White’s play up to A is sound
enough; but with 21-17, black cuts loose with a withering blast of
fireworks. Proceed:

10- 14 24-19

11 - 16 28-24 16-20

19-15 14-18

9-13 21-17 —A,

23-19 forming the

7-10 diagram.

32-28

fi/acfc to Play and Win

Continue: 10-14, 17-10, 13-17, 22-13, 18-23, 27-18, 20-27, 31-24, 8

- 11 , 15-8, 6-31, and black wins; a fine practical stroke.

A —This is where white misses the boat. The following is correct to

draw: 26-23, 2-7, 23-14, 10-26, 30-23, 8-11, 15-8, 4-11, 31-26, 6-10,
19-16, 12-19, 24-6, 1-10, 26-22, 10-14, 22-17, 13-22, 25-9, 5-14,29-
25, 11-15, 25-22, 7-10, 22-17, 15-18, 17-13, 18-22, 13-9, 22-26, 9-6,
10-15, 6-2, 15-18. Wm. F. Ryan.

An Old Familiar
The following catch is well-known to all expert players, and is
particularly useful in crossboard play, because it arises from several
openings. In this example, a triple action shot does the trick, white
executing three separate double jumps in succession.

VVhif* #o Play and Win

9-13 9-14 8-15

23-19 22-18 23-18

6- 9 11-15 14-23 —A

27-23 18-11 See the

diagram.
Continue: 19-16, 12-19, 21-17, 13-22, 25-11, 7-16, 24-6, 1-10, 26-
12, and white wins.

A —The wrong jump. The correct play is: 15-22, 25-9, 5-14, 1916,
12-19, 24-6, 1-10, 29-25, 4-8, 25-22, 8-11, 28-24, 11-15, 3227, 7-11,
26-23, 3-8, 30-26, 14-18, 23-7, 15-19, 24-15, 11-25, ending in a
draw.

An Interesting Cross Loss

The 26-23 line of the cross (4th move) has never enjoyed the same
popularity among top-notchers as that of the 27-23 build-up. I am
among the few moderns who are partial to it. The play presented on
the next page reveals the one trap I have used most frequently with
the white pieces:

11-15 7-10 -C 4- 8

23-18 24-19 26-22

8-11 15-24 9-13 —D

26-23 28-19 18- 9

10-14 —A 11-16 5-14,

30-26 22-17 forming the

Table captiondiagram.
Continue: 19-15, 10-26, 17-10, 6-15, 22-17, 13-22, 25-4, 26-30, 4-8,
16-20, 8-11, 3-7, 11-8, 1-6, 8-3, 7-10, 3-8, 6-9, 8-11, 9-13, 29-25, 12-
16, 27-24, 20-27, 11-20, and white wins.

A —If 4-8 is used, then proceed with 30-26, 10-14, 24-19, 15-24; at
this point, 27-20 * is still essential, as 28—19 loses by 11—16, 3228
— B, 6-10, 22-17 (27-24, 8-11; now 22-17 is beaten by 11-15, and
24-20 by 10-15), 8-11, 26-22 (if 17-13, 10-15 wins), 1-6, 1713, 14-17,
21-14, 10-26, 31-22, 7-10, 25-21, 16-20, 29-25, 3-7, 22-17, 9-14, 18-
9, 5-14, 19-15, 11-18, 23-19, 7-11, and black wins. Wm. F. Ryan vs.
H. L. Rudolph.

B— 22-17, 8-11, 17-10, 6-24, 27-20, 9-14, 18-9, 5-14, 25-22, 16-19,
23-16, 12-19, 22-17, 7-10, 29-25, 3-8, 17-13, 8-12, 25-22, 11-15, 22-
17, 14-18, 17-14, 10-17, 21-14, 18-23, 26-22, 23-26, 14-10, 26-30,
and black wins. Wm. F. Ryan.

C —If 6-10, 24-19, 15-24, then 27-20* is correct to draw; but 28-19
loses by 11-16, 18-15 (22-17 loses immediately by 10-15), 1-6, 15-
11, 14-18 *, 22-15, 9-14, 26-22, 14-18, 23-14, 16-23, 2718, 10-26,
31-22, 7-16, 21-17, 3-7, 25-21, 16-19, 32-27, 7-10, 1511, 2-7, etc.,
and black wins. Wm. F. Ryan. This win corrects draw play by Hugh
McKean, W. D. Benstead, and others.

D— Tempting, but fatal. The correct play is 16-20, 17-13, 8-11, 22-
17, 12-16 *, 19-12, 10-15, 17-10, 15-22, 25-18, 6-22, 13-6, 1-10, 21-
17, 5-9, 23-18, 9-13, 32-28, 11-16, 27-23, 2-7, 18-14, 10-15, 23-18,
etc., resulting in a draw. Wm. F. Ryan.
Beeswax Block Buster
Early in my checkered career I took a strong fancy to the Old
Paraffin opening, developing much new play on it, and with it
defeating many prominent stars of the board. Eventually, my
contemporaries got onto it, and I dropped the opening from my
repertoire. Here is one Beeswax ambush that I used with wide and
telling effect:

11-15 9-13 —B 9-14

24-20 26-23 18- 9

8-11 6- 9 —C 5-14,

27-24 —A 23-18 forming

3- 8 1- 6 the dia

23-19 31-27 gram.

Continue: 22-17, 13-22, 25-9, 6-13, 30-25*, 15-18, 19-16, 12-19, 24-
6, 2-9, 20-16, 11-20, 27-24, 20-27, 32-5, and white wins.

A —Forms the Old Paraffin opening, nicknamed the Beeswax. When

properly met, it is somewhat weak for white, though drawable.

B —If 9-14 is tried, continue with 22-17, 5-9, 26-23; now 1-5 is
drawable. If 15-18 is taken, it can be nailed neatly by 19-15*, 18-27,
32-23, 11-27, 20-16, 12-19, 24-15, 10-19, 17-3, 27-32, 3-12, and
white wins by stealing the piece on square 19.
C—This is where black goes wrong. The only move to draw is: 15-
18*, 22-15, 11-27, 32-23, 6-9, 25-22, 9-14; now 22-18 or 31-26 will
draw.

The Pied Piper’s Fife

So many innocents have been lured to destruction by this hoary
variation of the Fife opening that it has been appropriately tagged
“The Pied Piper’s Special.”

11-15 23-19 9-14 22-17 5- 9 —A 26-23

9-13 30-26 13-22 25- 9 6-13

21-17 —B

13-22 26-17 2 - 6 29-25, forming the diagram.

Black to Play and Win

Continue:
31-26 4-11 16-11 32-27
15-18*
23-14 30-23 32-27 19-23 15-10

6- 9 27-18 11-15 27-24 18-22

14- 5 12-16 24-20 23-27 11- 7

10-15 18-15 16-19 24-19 22-26, and

19-10 8-11 20-16 27-32 black wins.

7-30 15- 8 15-18 19-15

Table captionA —The Fife opening, developed and first played by

James Wyllie. B —The losing move. The correct moves here are:
29-25, 8-11, 25-22, 4-8, 22-17, 13-22, 26-17, 2-6; at this point 24-20,
17-14, or 17-13 will produce a draw.

Tombstones For Tyros

The Cross opening is a perpetual favorite with all classes of players.
For some unexplainable reason, it is infested with more early pitfalls
than any other opening on the board. Here, in one concise
arrangement, you will find four of the

33
best-known and most commonly employed “shockers” that
experienced players are constantly using to slay the innocents.

11-15 15-18 1-10

23-18 26-22 28-19

8-11 11-15— -B,C 11-15

27-23 17-13 31-26

OO
7-11 15-24
1

23-19 13- 9 26-22

9-14 —A 6-13 13-17— D

18- 9 24-20 22-13

5-14 15-24 2- 6 —E.

22-17 22- 6 See the

diagram.
Continue: ?>2-21 , 24-31, 30-26, 31-22, 25-2, and white wins.

A —Another early demise follows 9-13, which loses as follows: 9-13,

26-23, 6-9, 30-26, 9-14, 18-9, 5-14, 32-27, 1-5, 19-16, 12-19, 23-16,
11-20, 22-17, 13-22, 25-4, and white wins.

B —If 18-23 is employed, then counter with 19-15, 10-19, 24-15, 11-
18, 22-15, 14-18, 31-27, 7-10, 17-14. At this stage, 10-17,

21- 14, 6-10 is drawable, but 10-19 allows the shot by 14-10, 6-15,
25-22, 18-25, 27-4, with which white wins.

C —A natural-looking move is 11-16, but it cracks up quickly by

22- 15, 16-23, 31-27, 10-19, 17-10, 7-14, 27-9, 6-13, 24-15, and
white wins.

D —This has been erroneously rated a losing move, but it produces

a draw as shown in Note E. The accepted draw moves at this point
are: 14-17, 21-7, 3-10, 22-17, 13-22, 25-18, 8-11, 29-25, 2-6, 25-22,
6-9, 22-17, 24-28, 17-13, 10-15, 13-6, 15-22, 6-2, 11-15, 2-7, 15-18,
7-10, 18-23, 10-15, 22-26. Andrew Anderson .

E —This is the real loser, since it allows the shot which follows.
Black can still draw at E by playing: 14-18, 25-22, 18-25, 29-22, 8-
11, 13-9 (best chance), 10-15, 9-5—F, 15-19, 5-1, 19-23, 1-5, 11-15,
5-9, 3-7, 9-13, 12-16, 20-11, 7-16, 13-17, 15-19, 22-18, 24-27; a
draw. Wm. F. Ryan .

F— If 22-17 is used, follow with: 15-19, 17-13, 19-23, 9-6, 2-9,

34
L —If the play goes: 11-16, 20-11, 7-16, white triumphs with

23-18, 14-23, 27-11, 8-15, 30-26, 16-20, 17-14, 10-17, 21-14, 20-27,
31-24. Again at L> if 12-16 is the play, white romps home first with:
23-19, 16-23, 27-9, 1-5, 9-6, 2-9, 30-26, 9-14, 26-23, 8-12, 23-19,
14-18, 29-25, 5-9, 32-27, 9-14, 31-26, 4-8, 26-23. Wm. F. Ryan.

M —Against 11-16, 20-11, 7-16, white executes a very unique clean-

out and wins with: 23-19*, 16-23, 27-9, 5-14, 22-18*, 14-23, 31-27,
13-22, 25-11, 8-15, 27-11. Wm. F. Ryan.

N —Loses, and white snaps the trap shut with a startling stroke,
which has claimed many a champion. I was caught by this one
several times before I came to recognize it; and I saw Newell W.
Banks entrapped by it as well. The following play at N assures a
draw and makes white run hard for home: 6-9*, 30-25*, 11-16, 20-11,
7-23, 27-11, 8-15, 24-19*!, 15-24, 32-28, 24-27, 31-24, 12-16, 24-20,
16-19, 20-16, 4-8, 16-12, 8-11, 12-8, 11-15, 8-3, 19-24, 28-19, 15-24,
3-8, 2-7, 8-12, 24-27 (not 7-11, 22-18!, as white will win), 12-16, 27-
31, 16-19, 7-11, 19-15, 10-19, 17-10, 31-27, 10-6, 27-23, 6-1, 19-24,
21-17, 23-26, 25-21, 26-30, 1-6, 11-15, 6-10, 15-19. Wm. F. Ryan .

0-11-20, 19-16, 12-28, 30-26, 10-19, 17-1* is no better, and also

loses. The important point is to take the stroke into square one, and
not to three, as the ending with the king on square three cannot be
scientifically won.

P—White now has a free hand with his king. Black cannot crack the
line without the loss of a piece, and subsequently loses because his
position deteriorates. Although the stroke following blacks 15-18
move at jV has been published several times, I can find no record of
it being properly executed. Invariably, white has made the mistake of
jumping into square 3 at Note P. I make no claim for the play prior to
the shot, but its proper execution, as revealed in this study, as well
as its attending formational structures discussed in the notes, are my
contributions to an outstanding, brilliant, and practical stroke.

Ill
Feme's Famous Five-Piece Freeze
Here is a star-studded study that I have prepared for my readers, to
highlight what I consider the most sensational end-game win ever
scored in crossboard competition:

9-14 15-11* 5-14 13- 9 19-23

24-19 9-13— D 25-22 19-23 15-19

5- 9 29-25* 11-15 28-19 23-27

28-24 13-17—£ 22-17* 15-24 21-17

11-15 25-22* 15-24 1- 6 27-32

22-18 16-20 23-19 10-15 1—6 *— L

15-22 22-13 16-23 6-10 2-18

25-18 7-16 27- 9 15-19 19-23

8-11 26-22* 12-16 10-15 18-27

24-20 4— 8 9- 5-J 23-27 17-13

11-16— A 30-25* —F 16-19 17-14 White

20-11 8-11 32-28* 27-32 wins.

7-16 22-18* 10-15 9-5

18-15 1- 5—7 5- 1 32-28

-J
18- 9 6-10 —K 5- 1
1

C5

A —This was labeled a losing move by no less an authority than the

late A. J. Heffner, one of the foremost analysts of all time. There can
be no doubt that it is a very weak move, but I do not believe it is a
loss. A better procedure here is: 3-8, 27-24, 1-5— B y 26-22,

11- 15, 18-11, 8-15, 20-16, 15-18, 22-15, 14-17, 21-14, 9-27, 32-23,
7-11, 15-8, 4-27, 31-24, 2-7*, 29-25, 7-11, 25-22, 6-9, 30-26, 9-14,
22-18, 11-16, 18-9, 5-14, 24-20, 14-18, which ends in a draw;
published play.

B —Or 11-16, 20-11, 8-22, 26-17, 9-13, 19-15, 13-22, 30-26, 10-28,
26-3, 2-7, 3-10, 6-15, 29-25, 4-8, 25-22, 15-19, 23-16,

12- 19, 22-18, 8-11, 31-26, 1-6, 18-14, 11-15, 21-17, 15-18, 17-13,
19-24. Harry Lieberman vs. C. H. Leggett .

C—Probably the real loser. It is of interest to note that a number of

reputable analysts have reached this position at various times, but
none of them has pointed out that black can still force a draw. In 112
Variation 1, we attempt to prove the black draw by an attractive array
of strategical devices.

D —If 1-5 is attempted, white will win with: 29-25* (26-22 allows a
draw by 9-13, 22-18, 16-20, 18-9, 7-16, 29-25, 5-14,

25- 22, 2-7, 22-18, 14-17, etc.), 9-13, 25-22, 14-17, 21-14, 10-17,
19-15*, 16-20 (16-19, 23-16, 12-19, will permit white to win with 32-
28*, 7-16, 27-24*), 23-18*, 7-16, 15-11*, 5-9, 32-28*, 6-10,

18- 14, 9-25, 30-7, 13-17, 7-3, 17-21, 26-23, 21-25, 23-18, 25-30,
11-7*, 2-11, 3-8. Wm. F. Ryan.

E— A bold try for a draw, which almost makes good, but not quite.
Any other move loses easily except 1-5, which, after 25-22, develops
the play described in Note D.

F —The only way to win. 30-26 would allow black to garner a draw
with: 14-18, 22-15, 10-14, 26-22, 14-17, etc. If 22-18 is played at F,
black can squeeze through to a draw by: 8-11 *, 18-9,

11- 15, 9-5— G, 15-24, 23-18—//, 24-28, 21-17, 16-19, 30-26,

19- 24, 26-22 (if 26-23 is tried here, the draw is also found with:

12- 16, 18-14, 10-15, 23-19, 16-23, 27-11, 24-27, 32-23, 6-9) 12-16,
18-14, 10-15, 14-9, 16-19, 17-14, 6-10, 14-7, 2-11, 22-17,

19- 23, 27-18, 15-22, 17-14, 11-16, etc. Wm. F. Ryan.

G— 30-26, 15-24, 23-18, 10-14, 18-15, 14-18, 26-23, 18-22,

23-19, 16-23, 27-18, 1-5, 18-14, 22-25, will result in a draw in a few
moves.

H— If the move is 21-17, black will escape to a draw by: 24-28,

23- 19,16-23, 27-18, 20-24*!, 30-26,12-16, 26-23 (or 26-22, 6-9*),

16-20*, 23-19, 24-27*, 32-23, 28-32. Wm. F. Ryan. Again at H y if the
sequence is 23-19, 16-23, 27-18, black marches to a draw with: 12-
16, 21-17, 16-19, 30-26 (32-28, 24-27* preserves the draw),

24- 28, 18-14, 10-15, 14-9, 20-24*!, 32-27, 15-18*, 27-20, 18-23,

26- 22, 23-26, 22-18, 26-30, 20-16, 30-25, 16-11, 6-10*, 18-14, 10-
15, 11-8, 25-21, 8-3, 15-18, 14-10, 21-7, 3-10, 18-22. Wm. F. Ryan .

1 —10—15 is cornered by white, who will win with: 18-9, 15-24,

25- 22, 24-28, 23-18* (22-18, 6-10, 18-14, 10-17, 21-14, 11-15, 14-
10, 1-5* will lead to a draw only), 1-5, 27-23*, 5-14, 18-9,

20- 24, 9-5, 6-10, 5-1, 10-15, 13-9, 15-19, 23-18, 19-23, 1-6, 16-20,
6-10, 24-27, 31-24, 20-27, 10-15, 11-16, 15-19. Wm. F . Ryan. The
10-15 move at I is not so easy to overcome as the positional
appearance suggests.

J —In a match game, many years ago, between James Ferrie, then
Champion of the World, and James Moir, another renowned celebrity
of the old school, the position of the checkers immediately prior to
white’s 9-5 move, was as set forth in the diagram. In that game, the
order of moves leading up to the diagrammed stage varied from the
sequence of play given in our trunk game. At this point, Ferrie forced
one of the most brilliant wins ever to be scored in actual play!

K —If the play is 6-9, white will win with: 13-6, 2-9, 17-13, 9-14, 1-6,
24-27, 31-24, 20-27, 6-10, 14-18, 10-14, 18-23, 14-10, 23-26, 10-7,
15-18, 7-10, 18-22, 10-15, 19-23, 15-18, 22-25, 18-22. Harry
Licberman.

L —Mr. Ferrie deliberated here for a moment, then slowly raised his
hand, and proceeded to execute what is perhaps the most
remarkable finish ever recorded in draughts lore, bottling up all of his
opponent’s pieces in an airtight smother. One can well imagine Mr.
Moir’s consternation at finding himself defeated, although three
pieces ahead!
Variation 1

Table caption(off trunk at fifteenth move)

4- 8 —A 25-22 19-26 23-19 26-30

15-11 6-10 30-23 18-23 14-18

8-24 22-17 —D 6- 9 6- 2 22-25;

27-11 9-13 11- 7 14-18 drawn.

10-15 32-27 2-11 2- 6 Wm. F.

29-25 —B 13-22 17-13 18-22 Ryan.

15-19 26-17 10-15 6-10

23-16 1- 6 13- 6 23-26

12-19
27-23 —F 15-18* 10-14
114
A —Revitalizes a formation that has long remained in discard in the
belief that it would result in a loss for black. This move transforms it
into a draw.

B —Black is not hurt by: 23-18, 15-22, 26-10, 6-15, 29-25 (or

11- 8, 12-16, 8-4, 9-14, 29-25, 15-18, 30-26, 1-6), 12-16, 25-22, 1-6,
22-17, 6-10; this play gives black at least an even game. Again at B ,
if 11-8 is used, black breaks through for a draw with: 11-8,

12- 16*, 8-4, 6-10, 29-25,16-20*, 25-22, 2-7*, 31-27, 7-11, 22-17,

9- 13, 26-22, 1-6, 23-18, 14-23, 27-18, 6-9* (20-24, 4-8, 3-12,

18- 14, will turn it into a win for white), 32-28, 3-8*1—C, 30-26, 15-
19*, 17-14, 10-17, 21-5, 8-12, 18-14, 11-16. Wm. F. Ryan .

C —If 15-19 is played, white will win by: 4-8, 3-12, 17-14,

10- 26, 30-7. If the play is 20-24, 28-19, 15-24, then the move

30- 26 will win on all counts.

D— Or 31-27, 1-5, 26-23— E, 19-26, 30-23, 9-13, 23-19, 3-7, 27-23,

7-16, 19-12, 10-15, 32-28, 2-6, 28-24, 6-9, 23-19. Wm. F. Ryan.

E —If the move is 22-17, then the draw is protected by: 10-15, 17-
10, 19-23, 26-19, 15-31, 21-17*, 9-14, 17-13, 14-18, 10-6, 2-9,

13- 6, 5-9, 6-1, 9-14. Again at E , if the sequence is 30-25, 10-15, the
draw is preserved with 22-17; but the following will lead to a win for
black: 27-23, 19-24, 23-19, 24-27, 19-10, 27-31, 26-23,

31- 26.

F —30-26, 14-18* (6-9, 11-7, 2-11, 17-13, and white wins), 17-14,
10-17, 21-14, 18-23 (19-23 also makes the draw), 27-18,
19- 24, 26-23, 24-28, 23-19, 28-32, 19-15, 32-28, 14-10, 6-9, 10-6,
3-7, 11—8, 7—10, 15-11, 10—15, ends in a draw. Wm. F. Ryan.

The Champions’ Choice

The Cross Choice opening, formed by 11-15, 23-18, 9-14, has long
been a favorite battleground of the champions, and some of the most
spectacular wins on the record have been scored on it. The following
analytical study of this colorful debut bristles with brilliant play and
unusual combinations:

Whi/« fo Play and Draw

11-15 23-18 9-14 18-11 8-15 22-17 4- 8

25- 22 8-11-4,1

26- 23 —B 6- 9

17-13 2- 6—C

23- 18 *-£>,2 14-23 27-18 10-14 —E 31-27 *—F 14-23 27-18 12-16

24- 20

7-10 21-17* 16-19 29-25 —G 19-24 —H 28-19 15-24 25-21*

3- 8—7, to the diagram

Continue from diagram:
17-14*— F 20-16*— F 3- 7 11-16 28-24

10-26 15-22 10-15 19-23 23-26

30-23 16- 7 7-11 16-19 21-17;

6-10 1-10 15-19 22-26 drawn.

13- 6 7- 3 23-16 19-28 Wm. F.

10-15 8-12 12-19 26-30 Ryan.

A —7-11 is also good, as shown in Variation 1.

B —As played by Champions Rubin and Hunt. In view of the

improved attack innovated at C, this 26-23 move will henceforth
occupy a lower rating among the master minds. Probably the best
move here for a draw is: 17-13, 11-16, 22-17, 16-20 (16-19, 29-25, 7
—11, 24-20, 2—7, 27-24, may be used as a plausible alternative),
26-23, 7-11, 29-25, 3-7, 24-19 (23-19, 5-9, 25-22, 14-18, 17-14, 18-
25, 14-5, 25-29, 21-17, 11-16, 17-14, 16-23, 27-11, 20-27, 32-23, 7-
16, 14-7, 2-11, 31-26, 11-15, 23-19, etc. produces the draw), 15-24,
28-19, 11-15, 32-28, 15-24, 28-19, 7-11, 3126*, 11-15, 19-16, 12-19,
23-16, 15-19, 26-23, 19-26, 30-23, 10-15, 17-10, 15-19, 10-7, 19-26,
27-23, 2-11, 16-7, 26-31, 23-19, 31-26, 19—16, 26-23, 25-22. Sam
Levy, Manchester, England, 1937.
C —Inaugurates a baffling attack, suggested to me by John T.
Bradford. It improves upon the combination of: 14-17,13-6,17-26,
116

31-22, 2-9, 23-19 (used by Edwin F. Hunt, Nathan Rubin, and Asa
Long in games played by them), which leaves black with a draw at
best and no chance of winning. This 2-6 puts muscle in the black
build-up and promptly takes the snapper out of white’s formation. If
black tries 1-6 at C, then we have a familiar Denny development,
strong for white, which runs its course like this to a draw: 1-6, 23-19,
14-17, 21-14, 9-25, 29-22, 5-9, 27-23, 9-14, 24-20, 15-24, 28-19, 14-
17, 31-26, 11-15, 32-28, 15-24, 28-19, 7-11, 22-18, 3-7,19-16,12-19,
23-16, 6-9,13-6,2-9,16-12,17-21,12-8,10-15, 26-22, 7-10, 20-16, 11-
20, 18-11, 10-15, 8-3, 15-19, 3-7, 19-23, 7-10, 23-27, 10-15, 20-24,
15-18, 9-13*, 11-7, 27-31, 7-2, 24-28, 2-7, 28-32, 7-10, 31-27. Wm.
F. Ryan vs. Jesse B. Hanson , 7927.

D —The key to the situation, cramping mobility of the black pieces

on squares 1, 5, 6, and 9. A good draw by any other move is hard to
find, and even the text must be followed through by the subtle
touches at J. For play on 23-19 at this point, see Variation 2 —an
exposition in hairline draughts!

E —This press is obviously the only move to gain a draw. If 12-16 is

played, 24-20 wins.

F—31-26, 14-23, 26-10, 7-14, 29-25, 12-16, 32-27 or 30-26, then 11-
15 leaves white irreparably impaired.

G —The shot by 17-14, 10-26, 30-7, 15-22, 7-2, 22-26, leaves black
with much the better ending, though a win would be hard to prove.
The strength of the black ending rests in ultimately relieving the four
man tie-up of his pieces on 1, 5, 6, and 9. This is accomplished by
crowning the piece on 22, returning the king to square 18, and then
conditionally “slipping” 9-14, 2-9, 14-17, thus removing the white king
on square 2 from play. On such “ideas” and tactical threats is the
game of checkers based. The more knowledge a student acquires of
these principles of play, and the more adept he is in knowing when
and how to threaten with the proper plan for a particular setup, the
greater is his skill. The proficient planner makes the player.

H—Or 19-23, 28-24 (better than 20-16, 11-20, 18-11, 9-14, 25-21, 5-
9, black strong), 3-8, 20-16, 11-27, 18-4, 27-31, 4 8, 31-27, 8-11, 27-
24, 11-8 will also reach a draw. Wm. F. Ryan.

7-24-28, 30-26, 3-8, 17-14, 10-17, 21-14, 8-12, 22 17, 11 15,

18-11,9-18,11-7,18-22,26-23, 22-26, 23-18, 26-30,18-14, 30-25, 7-2,

25-22, 2-9, 22-18, 32-27, 28-32, 27-23, 18-27, 9-6 produces the
draw. Wm. F. Ryan.

J —The timely rescue for white.

Variation 1

7-11 22-17 10-17 25-22 11-16

29-25 3- 7 21-14 12-16 2- 7

12-16 31-27 —A 18-23 22-18 31-26;

24-20 1- 5 —B 20-16 16-19 drawn.

16-19 27-23 11-27 1- 6 Wm. F.

27-24 14-18 28-24 2- 9 Ryan.

5- 9 23-14 —C 19-28 13- 6

17-13 9-18 26- 1 7-11

8-12 17-14 27-31 6- 2

A —White dares not go 32-27, since he will be stung by 19 23.

However, white can travel safely to a draw with: 26-23, 19-26, 30-23,
1-5 (nothing better), 23-19*, 11-16, 20-11, 7-23, 24-19, 15-24,28-
19,14-18,17-14,10-17,21-14,2-7,19-15,12-16,15-11, 6-10, 11-2, 10-
17, 13-6, 17-21, 2-7, 21-30, 7-11, 16-20, 31-26. Wm. F. Ryan.

B —If the play goes 11—16, 20—11, 7~16, 27—23, the breakup by
15-18 will promote a draw; but if the move is 2-7, white will reply with
32-27*, and black’s position is perilous.

C—Or 23-16, 12-19, 17-14, 10-17, 21-14, 18-23, 14-10, 7-14, 20-16,
11-27, 28-24, 19-28, 26-1, 27-31, 13-6, 2-9, 1-6, 9-13, 25-22, 14-17,
22-18, 17-22, 18-14, 13-17, 6-9, 17-21, 9-13, also ending in a draw.
John T. Bradford.
Variation 2
23-19 —A 23-14 30-23 20-16 11- 7

14-17 9-25 9-14 17-22 31-26

21-14 29-22 23-19 15-11 7- 2;

10—26 12-16 15-24 22-26 drawn.

19-10* 24-20 28-19 16-12 Wm. F.

7-14 16-19 1- 5 —C 26-31 Ryan.

31-22* 32-27 19-15 18-15

11-15 5- 9 14-17 9-14

27-23* 27-23 22-18 12- 8

14-18 19-26 5- 9 3-12

A "I he best that white can hope for after this move is a problematical
draw. If white attempts 31-26 here, then 14-18, 23-14 9-25, 29-22,
11-16, 24-20, 16-19 will leave black with a winning game. Another
plausible try at A is

22- 17. Black’s strongest reply to this move is 14-18, 23-14, 9-18,
which leaves white confronted with the critical situation shown on the
diagram. I published play on this position a few years ago, claiming a
black win against any defense adopted by white, but a problematical
draw was found as follows.

Continue from diagram: 30-26, 18-22, 1714*— B, 10-17, 21-14, 6-9,

26-17, 918, 27-23, 18-27, 32-23, 11-16, 24-19,

15-24,28-19, 5-9, 13-6, 1-10,17-13, 7-11, 13-9, 11-15, 9-6, 15-24,

23- 18, 3-8, 6-2, 8-11, 2-7, 10-15. After the last move (10-15) I
abandoned further play, adjudicating the position as hopeless for
white, but Johnnie Mitchell of Cordele, Georgia, a former Cracker
State champion, pointed out a surprise draw (after 10-15) by
continuing the play 7-3*!, 15-22, 3-8; now, although black is
temporarily two pieces ahead, he must relinquish the advantage,
white drawing in a few more moves.

B If 26-23 is played, 10-14 will spearhead a win for black. If the move
is 27-23, then black will win with: 5-9, 32-27 (23-19,

MITCHELL'S miracle

White to Play and Draw

9-14, 26-23, 15-18, also wins for black), 9-14, 24-20, 15-18, 23-19,
11-15. J. T. Bradford .

C —Black can prolong the game by forcing white into a bridge

ending like this: 14-17, 22-18, 17-22, 18-14, 22-26, 14-9, 6-10, 9-6,
10-14, 6-2, 14-17, 13-9, 17-21 (to stop the pitch by 9-6 next), 19-15,
26-31, 15-10, 31-26, 2-7, 26-22, 9-6, 22-18, and white having the
move, can draw the ending.
A Bristol Broadside
11-16 26-23—H 9-13 16-11 14-17

24-20 19-26 22-18 6-10 32-27

16-19 30- 7 14-23 11- 7 17-22

23-16 2-18 27-18 22-25 27-23

12-19 28-24 13-17 7- 2 25-30;

22-18 9-14 21-14 1- 5 drawn.

10-14 —A 24-19 8-11 2- 6 Campbell

18-15 —B 5- 9 16- 7 10-14 vs. Reid

7-10— E,\ 25-22 3-17 18- 9

20-16— F, 2 18-25 19-16 5-14

14-18— G, 3 29-22 17-22 6-10

A —The text was a long-standing favorite with that renowned
celebrity of the draughts world, James Wyllie. It was also popular
with many other stars of the Andersonian firmament. Although it has
gained only negligible favor with the modern exponents of the go-as-
you-please school, one is certain to regard the line with increasing
respect as its ramifications are mastered.

B —In a title game between two world’s champions, Richard Jordan

and James Ferrie, the former attempted 27-23 here. The game
proceeded 8-12, 23-16, 12-19, 18-15, 4-8, 25-22, 9-13, 3227, 5-9,
29-25—C, 7-11, 27-24,11-18, 24-15—A 2-7, 20-16, 7-11, 16-7, 3-19,
22-15, 14-18, 26-23, 18-27, 31-24, 9-14, 24-20, 14-18, 20-16, 8-12,
16-11, 19-23, 11-7, 23-27, 7-3 (30-26, 27-31, 26-22 should develop a
draw), 27-31, 28-24, 31-27, 24-20, 18-23, 15-11, 6-10, 3-7, 12-16, 7-
14, 23-26, 30-23, 27-9, 11-7, 16-19, 7-3, 9-14, 3-7, 14-18, and Ferrie
won. Considering the usually high caliber of 120

Mr. Jordan’s play, this one stands out on the record as one of his
worst examples. Time and again he displayed a remarkably dull
grasp of the involved positional structures.

C— 15-11, 8-15, 27-23, 1-5, 23-16, 14-17, 21-14, 9-25, 29-22, 7-11,
16-7, 2-11, 30-25, 6-10, 25-21, 5-9, 22-17, etc. would be a much
easier way for white to play for the draw. Wm. F. Ryan.

D —This seems to be about the spot where the Great Jordan fell into
error. A draw after 24-15 is difficult to reach. The alternative jump
gains the draw easily with: 22-15, 3-7*, 20-16, 7-11, 16-7,

2- 18, 24-15, 6-10*, 15-6, 1-10, 28-24*, 8-11 (10-15, 31-27, 8-11, 26-
23), 24-19*, 18-22, 25-18, 14-23, 19-16, etc. Wm. F. Ryan.

E —The line of play initiated at A is usually associated with this

follow-up, although black can safely adopt other moves, as depicted
in Variation 1. The student should bear in mind that the strategical
advantage in adopting a dormant line of play, such as the one begun
at A , is twofold: first, it may throw the adversary off lines of play he
is most likely to know; second, it gains the initiative and efficiency
that go with employing a well-prepared plan of attack. It has been
proved time and again that a player who takes a weak line of play
and knows it thoroughly will win more games than the one who
adopts a standard procedure of play without knowing how to carry it
through.

F —To the player handling the white pieces, this is an important

waiting move, as it simplifies the formational structure by thwarting
any attempt by black to secure tenable complications. See Variation
2 for 25-22 here.

G —Just about all that black has left. For play on 9-13, see Variation
3. Alfred Jordan tried 2-7 here in a title match duel with Melvin
Pomeroy and finished on the rocks by 16-12, 14-18, 21-17 *, 9-14,
17-13, 5-9, 27-24, 7-11, 26-22, 19-23, 31-27, 10-19, 24-15, 14-17,
27-24, 17-26, 15-10, 6-15, 13-6, 1-10, 32-27, 23-32, 30-7,

3- 10, 12-3, 11-16, 24-20, 16-19, 3-7, 10-14, 25-22, 14-18, 7-11, 18-
25, 29-22, 19-23, 11-27, 32-23, 28-24, 23-26, 22-18, 26-23, 18-14,
23-18, 14-10, 4-8, 10-7, 18-15, 7-3, 8-12, 3-8, 15-18, 24-19; white
wins.

H —White must accept the clearance or drift into a ragged formation.

If 27-24 is played, then black wins with: 9-14, 24—20, 5-9, 16-11, 9-
13, 32-27, 6-9, 15 hS, 8-15, 20-16, 1-10, 27-24, 18-23,

25- 22 (24-20, 14-18, 16-11, 18-22, etc., white wins), 23-27, 30-25,

27-32, 22-17, 13-22, 25-11, 10-15, 24-20, 14-18, 16-12, 18-23,

26- 22, 9-13, 31-27, 23-26, 27-23, 26-30, 23-16, 32-27, 21-17, 30-
26, 29-25, 27-23. A. J. Heffner.

Variation 1

14-18 —A 10-19 9-13 4- 8 8-12

27-23 —E 16-12 3-10 18-15 24-19

18-27 19-23* 6-31 2- 7 6- 9;

32-16 27-18 30-26 28-24 drawn.

7-10 3- 7 31-22 1- 6 Old Play.

31-27 12- 3 25-18 20-16

A —In the Stewart-Banks world’s title match of 1922, Stewart tried

19-23 here and brought about a draw. This line is very old and was
widely used before Champion Stewart appeared on the scene. It
may be rightly classified an American innovation, as W. R. Barker
was the first to play it, in a match with Wyllie in 1874. Two decades
later, Willie Gardner sprang it on Wyllie in the second England-
Scotland team match of 1894, winning with the black pieces. The
following model play will assist the student in securing a working
knowledge of the feature points of the 19-23 line:

19-23 25-22 9-13 25-22 13-17 drawn.

26-19 6-10 22-18 11-15 21-14 Robert

7-11 27-23 —C 8-11 30-26 10-17 Stewart

15-10 —B 11-15 18- 9 15-24 23-19 vs.

6-24 32-28 5-14 22-18 24-28 Newell

28-19 15-24 29-25 3- 7 19-16 Banks.

1- 6 28-19 4- 8 18- 9 17-21;

B —An excellent alternative for the draw, and one that we consider
equal to the text is: 28-24, 11-18, 19-15, 2-7, 30-26, 7-10, 32-28, 10-
19, 24-15, 3-7, 27-24, 9-13, 26-22, 5-9, 24-19, 18-23, 19-16, 8-11,
15-8, 4-11, 16-12, 23-26, 12-8, 26-30, 28-24 (8-3, 14-17*, 21-5, 30-
21, 3-10, 6-15, will earn the draw), 7-10, 8-3, 11-16, 20-11, 14-18,
22-15, 10-28, etc. James Lees. Again at B y we 122

tried the Lees’ way (28-24) against Arch Henshall, a strong amateur
from Scranton, Pennsylvania, and almost lost when Henshall made a
three-point landing in our king row like this: 28-24, 11-18, 19-15, 9-13
(Arch didn’t know Lees’ play, but his 9-13 looks good), 24-19, 5-9,
27-24, 18-23, 15-10 (if 25-22 is used, 8-11 is correct), 6-15, 19-10,
14-18, 25-22, 18-25, 29-22, 9-14, 20-16, 14-18, 22-15, 23-27, 32-23,
8-11, 15-8, 3-28, 23-19, 28-32, 19-16, 32-28, 16-11,

28- 24, 10-7, etc., a draw.

C —Safer for a draw than 19-16, 11-15, 16-12, 8-11—D, 27-23, 3-7,
12-8, 14-18, 23-14, 10-26, 30-23, 11-16, 20-11, 7-16, 8-3,

15- 18, 23-14, 9-18, 21-17, 5-9. Willie Gardner.

D —9-13, 30-26, 8-11, 27-23* (better than 26-23, 3-7*, 23-18, 14-23,
27-18,15-19,12-8,11-16, after which black is strong, though white
can still size the draw with careful play), 2-6, 31-27, 4-8,

29- 25, 5-9, 32-28, 15-18, 22-15, 11-18, 26-22, 10-15, 28-24, 8-11,
23-19, 6-10, 19-16, 3-7, 12-8, 18-23, 27-18, 14-23, 8-3, 9-14, 3-8,
14-17, 21-14, 10-26, 8-3, 7-10, 16-7, 26-30; a draw. J. Macfarlane.
E —Equally good for a draw is: 21-17, 9-13, 17-14*, 6-10, 15-6,

I- 17, 27-24 (safer than 25-22, 18-25, 30-14, 2-6, 29-25, 8-11,

27-23*, etc., which also produces the draw), 19-23—F, 26-19,

8- 11— G, 25-22, 18-25, 30-14, 2-6, 29-25, 6-9, 25-21, 9-18, 20-16,

II- 27, 32-14, 4-8, 19-15, 8-11, 15-8, 3-12, 31-26, 12-16, 26-22,

16- 20, 22-18, 13-17, 18-15. Hugh Henderson vs. A. B. Scott.

F —A fool-proof safe line to a draw is: 5-9, 24-15, 17-22, 26-17, 13-
22, 32-27, 8-11, 15-8, 4-11, 28-24, 7-10, 24-19, 3-8, 25-21,

9- 13, 21-17, 11-15, 20-16, 15-24, 27-20, 8-11, 16-7, 2-11, 30-26, 11-
15, 20-16, 15-19, 26-23, 19-26, 29-25. Melvin E. Pomeroy.

G —18-23, 31-26, 8-11, 19-16, 17-21! (Pomeroy notes this as a

Chicago “special” that improves on published play by 4-8, 26-19, 8-
12 etc.), 26-19, 13-17!, 32-27*, 2-6*, 16-12, 4-8!, 19-15, 11-18, 25-
22, 17-26, 30-14, 6-10, 24-19, 10-17, 19-15, 17-22, 20-16, 22-26,
27-24, 26-31, 24-20, 7-11, to a draw. Melvin E. Pomeroy.

Variation 2

25-22 5- 9 —A 31-27* 1- 5 22-17 10-26

14-18 27-24 *—B 18-23 17-13 23-27 17-1

29-25 8-12 27-18 9-14 32-23 8-15;

9-14 16-11 14-23 26-22* 19-26 drawn.

 James
20-16 3- 8 22-17* 12-16 30-23
Wyllie.

A —The lineup at once is imperative. If the play goes 8-12, then

white will win with: 16-11*, 12-16,11-7 * 2-11,15-8, 3-12, 22-15, 4-8,
27-23, 5-9, 31-27, 16-20, 23-16, 10-19, 25-22, 9-13, 22-18, 14-23,
27-18, 20-24,18-15, 6-10, 15-6, 1-10, 30-25, 10-14, 25-22. Wm . F.
Ryan.

B —The one move most likely to be least considered. In several

published works on the game, the move 16-12 is recommended as
one that will bring about a draw. However, unless the following play
can be improved, it is obviously a losing move: 16-12, 18-23*, 27-18,
14-23, 21-17, 8-11*, 15-8, 4-11, 17-14, 10-17, 22-13, 9-14, 31-27, 6-
9, 13-6, 2-9, 27-18, 14-23, 28-24, 19-28, 26-19, 1-6* (corrects play
by Wyllie, who gave 9-14, allowing white to draw),

25- 22, 6-10, 22-18 (30-26, 11-15, 19-16, 10-14, 16-11, 9-13,

26- 23, 14-17, black wins), 9-13, 30-25, 13-17, 25-21, 17-22, 21-17,
22-26, and black wins. Jesse B. Hanson. Again at £, if 16-11 is
moved, then black will win with: 3-7, 27-24, 7-16, 24-20, 9-13, 20-11,
18-23, 31-27, 6-9, 15-6, 1-10, 27-18, 14-23. Wm. F. Ryan .

Variation 3

9-13 —A 32-27 1- 5 25- 9 18-23 12-3

16-12 —B 8-11 22-17 5-14 22-17 26-30

5- 9 —C 27-23 13-22 29-25 15-18 3-10

 o

27-23 —D 11-20 26-17 14-18 —E 17-13 —G 1

2- 7 23-16 9-13 31-26 23-26 Ginsberg

23-16 6-10 30-25 10-15 21-17 —H won.

10-19 25-22 13-22 26-22 3- 8

Table caption124

A —For all practical purposes, this move is a dead loss, and it has
led many champions to defeat. It was tried by Louis C. Ginsberg
against Basil Case in the semifinals of the seventh American
Championship tourney. At the time, Ginsberg needed a win to
remain in the tournament, as he was a life and a half down, this
being the last game of a deadlocked heat. Hence, Ginsberg aimed
for a victory by taking 9-13, since a draw would avail him nothing.

B —This is indeed a remarkable game. Ginsberg, needing a win,

made a very doubtful move at A , in a last-ditch drive for a win. Mr.
Case, on the other hand, needed only a draw to advance into the
championship finals with Asa Long. Case’s 16-12 move, however, at
once changed the whole complexion of the situation, for it is so weak
I would not venture to show a draw after it. The real surprise element
in this game is the revelation that from this point on, both players at
various times “scientifically” eliminated each other by their blunders,
with neither player taking advantage of the errors made by the other.
Had Mr. Case played 25-22 at B , the very best Ginsberg could have
hoped for was a draw. After 25-22, if black had replied 8—12 or 5-9,
then 27-23 would have been strong; and if the play had gone 8-11,
15—8, 4-20, then 27-23 would have been powerful.

C —A powerful waiting move that at once puts a deadly dent in the

white defense.

7)—After this, white must lose, although black’s position is so strong

that he can put white in jeopardy no matter what move is taken. 25-
22 and 27-24 are better defenses, but there can be no draw after 16-
12— B.

E —With this move, Ginsberg theoretically eliminated himself from

the tournament as it allows the draws mentioned in Notes G and H.
Asa Long, who annotated the game in the tournament book, should
have pointed out that black missed a snappy forced win here, by: 10-
15*, 31-26— F, 15-19, 26-22, 4-8, 22-17, 14-18, 17-14, 20-24, 14-9,
8-11. Wm. F. Ryan.

F —If 25-22 is played, then follow up with: 15-19*, 31-26; at this

point, 4-8 or 20-24 will win. If 28-24 is played, then white will win
with: 20-27, 31-24, 15-18, 24-19, 18-23, 25-22, 23-27, 22-17, 14-18,
17-14, 27-32, 14-9, 32-27, 9-6, 27-24, 19-15, 7-11. Wm. F. Ryan.

125

G —Mr. Long inserts a casual note at this juncture to observe that

the text move “was what the wily Ginsberg wanted/’ If such was the
case, it was a phantom Mr. Ginsberg was pursuing! He missed the
live one at Note E\ Apparently, Mr. Long was under the impression
that 17-13 was Case’s losing move, as he quotes a draw on 17-14,
23-26, 21-17, etc., by E. E. Cresswell. The Cresswell draw, though
sound, is of no scientific importance, as Ginsberg missed a win at Ey
which Long and Cresswell failed to point out.

H —Mr. Ginsberg must be a hypnotist. Case stumbled into the trap

as though mesmerized. Although Mr. Long’s comments on this game
conclude at G, it is extremely doubtful that Mr. Ginsberg really had a
win here. Although the ending is admittedly critical for white, the
following appears susceptible to a draw: 13-9*, 26-30, 9-6, 4-8, 6-2,
8-11, 2-6, 30-26, 6-9, 26-23, 9-14*, 11-15, 14-9*,

15-19, 9-6*, 18-22, 25-18, 23-14, 6-2, 7-10, 16-11*.

/—By losing this game, Mr. Case was eliminated from the
tournament, Ginsberg advancing into the finals with Long. The
pendulum of fate swung back and forth several times during the play.
At A , Ginsberg started the panic with the losing 9-13 gambit; then
Case missed the bus at B and found himself in difficulties. With the
win well in hand at E , Ginsberg failed to clinch it and permitted Case
to escape at G and H. Finally, Case must have decided that his
cause was hopeless, and at H he gave up.
Capers on the Kelso
I have always been of the opinion that the only effective way to teach
scientific checkers is to take games actually played by expert
performers, and to annotate them, step by step, explaining the
strategic and objective points of the play. As a sample lesson in
detailed dissection of scientific play, I am presenting a game I
contested with Andrew J. Banks, of Washington, D. C., when I put on
a simultaneous exhibition in the Capital City a few years ago.

Andrew J. Banks — Wm. F.

—Black
White Ryan

10-15 17-13 15-18— L 24- 8 17-26

22-18 9-14 26-23 3-12 30- 7

15-22 29-25 14-17— M 28-24 2-11

25-18 6-10— C 23-14 7-11 27-24;

24-19—
11-15 — A,\ 24-20—D 17-21—0 drawn.
P

18-11 1- 6— E 32-28 6-10

8-15 28-24 10-17 19-16

21-17 —B 8-11-J 19-16 12-19

23-19—
4- 8 12-19 25-22
K,2

A —For play on the alternative defense by 6-10, see Variation 1. B

—The favorite reply to 11-15, although 29-25 and 24-19 are also
acceptable moves.

C —In a Southern State Championship Tourney, Florida Champion

Earl Ingram tried 7-10 here against Basil Case, and almost won.
After 7-10, the game continued 24-20, 2-7, 25-21 (to dodge the dyke
by 15-19 if 27-24 or 28-24 is played), 8-11, 28-24, and reached the
position discussed in Note E.

D —Much stronger than 23-19, 8-11, 27-23,15-18, 19-15, 18-27, 15-

8, 12-16, 32-23, 8-12, 24-20, 10-15, 20-11, 7-16, 23-19, 15-24, 28-
19, 16-23, 26-19, at which point 2-7 creates an easy draw; but I have
won often against 5-9, 13-6, 1-10, then 25-22, 2-7, 31-27, 7-11, 30-
25*, 11-15, 27-24, 14-18, 24-20; white wins.

E —If the play goes 2-6, then proceed with: 25-21, 8-11, and we
arrive at the position (discussed in Note C) reached in the game
between Ingram and Case, although in that game the position
developed from a different order of moves. After 2-6, 25-21, 8-11, the
Ingram-Case game proceeded: 28-24, 14-17, 21-14, 10-17, 3228—
F, 6-10, 23-19, 1-6, 27-23, 5-9,19-16— G, 12-19, 23-16, 9-14, 26-23,
17-22— H, 23-19, 15-18, 16-12,11-15, 20-16,14-17, 24-20,

15- 24, 28-19, 17-21, 30-26, 21-25, 26-17, 25-30, 19-15, 10-19,

16- 11, 7-16, 20—11, 18-23, 17-14, ending in a draw.

F —Something new. Here is how James P. Reed played the white

pieces against Wm. Beattie, many years ago: 23-19, 15-18, 32-28,
17- 22, 26-17, 11-15, 19-10, 7-21, 31-26, 5-9, 20-16, 12-19, 24-15,
9-14, 15-11, 14-17, 26-23, 18-22, 23-19, 22-25, 27-23, 25-29, 23-18,
3-7, 11-2, 1-5, to a draw.

G —Apparently all that white has left. If 26-22 is used, then 17-26,
31-22, 9-14, 23-18, 14-23, 22-17, 12-16, 19-12, 23-27,

30- 25, 27-31, 25-21, will leave black with a promising ending.

H —When the Ingram-Case game first came to my attention, I went

over it very carefully (so I thought), announcing that Mr. Ingram could
have won here by this play: 15-18, 24-19—/, 18-27,

31- 24, 17-22, 16-12, 11-15, 19-16, 22-26, 30-23, 15-19, etc. Wm. F.
Ryan .

I —But Mr. Case popped up and saved his reputation by

demonstrating the following remarkable draw. From position shown
on the diagram, continue: 23-19, 18-23, 16-12, 11-15, 3026* (the one
we overlooked!), 23-30, 31-26*, 30-16, 20-2, 6-9, 13-6, 19-24, etc.
Basil Case . This clever in-and-out touch is a sample of what to
expect when playing in fast company!

J —A very weak move. Remember, this was an exhibition game! The

time to impose hardships on yourself and the time to improve your
game is when it won’t count against you. In other words, when you
play for fun, any line of play will do for a test. When you play an
important match, that is the time to play your best. Many players will
never reach the top because they make no effort to broaden their
concept of formations and structures. Their knowledge is restricted
to the conventional processes of book play. To be a real headliner,
you must cultivate an appetite to defend as well as to attack any
critical position with equal zeal. Of course, the double trade by 15-19
at J gives black an easy game, but I was inviting originality by 8-11,
and got it!

K —The situation at this point has been faced by all the checker
greats of the past. Mr. Banks’ 23-19 appears to be an innovation, but
it was probably shunned by the early masters because of its
mediocrity. Variation 2 shows some fine play on 32-28 here, which
no student of the game can afford to disregard.

L —At the time this game was played, I had the idea 14-18 would
lose for black if it was met with 25-21. Hence I moved 15-18. On 128

later examination, I discovered that it would lead to a draw with the

following play: 14-18, 25-21, 5-9, 26-23, 18-22, 21-17, 22-25*, 30-21,
9-14, 32-28, 14-18, 23-14, 11-16, 20-11, 7-32. Wm. F. Ryan. A
progressive student always spends more time reviewing the games
he has played, in search of improvements or errors, than in playing
new games.

M —In a formation of this kind it is usually fatal for black to “pack” the
structure by 11-15, particularly when there is no piece on square 5.
The “slip” theme by 14-17, as employed here, is generally applicable
for a draw when there are no opposing pieces on squares 26 and 29.
Reverting to M again, the fill-in via 11-15 will produce a draw in this
case: 11-15, 20-16—jV, 14-17*, 23-14,

6- 9, 13-6, 2-18, 24-20, 15-24, 16-11, 7-16, 20-11, 17-22, 27-20, 22-
29, 11-7, 10-14, 7-2, 5-9, 2-6, 9-13, etc.

N —If 30-26 is used, proceed with: 14-17, 23-14, 6-9, etc.; if

32-28 is played, black will win with: 14-17, 23-14, 17-22!, 25-11,

7- 32, 14-7, 2-11; if 31-26 is moved, the draw is established with: 6-

9, 13-6, 2-9, 32-28, 14-17, 23-14, 9-18, 25-22*, 18-25, 30-14, 10-17,
19-10, 7-14, 20-16. Wm. F. Ryan.
O —This was my first and only bad move. I should have played 6-9,
13-6, 2-18, 31-26, 11-15*, 25-22*, making the draw shown in Note N.

P —Mr. Banks saw his chance for a draw and went after it. However,
he grossly underplayed his position. I was in trouble. After the game
I pointed out to him that he could have worried me by playing 27-23,
leaving black in the plight indicated on the diagram shown on the
next page. After a few trial runs, I managed to demonstrate a narrow
draw for black, which is replete with tactical brilliancies.

6 - 10 * 31-26 2 - 6 *

23- 18—0 10-15 *—R 18-14 15-18*

24- 19

Black to Play and Draw

18-23 27-31

25-22 21-14

23-27 *—S 31-24, to a

22-18 draw.

21-25* Wm. F. Ryan.

30-21 6 - 10 *

14- 7

Q,—If 25-22 is played, either 5-9 or 10-15 will produce a draw; if 24-
19 is played, the draw is gained by: 11-15, 19-16, 12-19, 23-16, 15-
19, 16-11, 10-15, 11-7, 6-10, 7-2, 19-23.

R —5-9 allows a classical knockout by 18-14*, 9-18, 26-22, 17— 26,

30-7, 21-30, 7-2*, 6-10, 2-6*, 10-14, 6-10*, 14-17, 10-14*, 17-22, 24-
19*, 22-26, 14-18*, 30-25, 19-16*!, 12-19, 18-23, and white wins.
Wm. F. Ryan. This is a sparkling example of superscientific forced
checkers.

S —Another fadeout is 21-25, 30-21, 23-30, 22-18, 30-26, 19-15, 26-

22, 15-8, 22-15, 14-10, 6-9!, 13-6, 15-18, 21-14, 18-2, 8-4*, 5-9, 4-8,
9-14, 8-11, 14-18, 11-15, 18-23, 20-16, 12-19, 15-24, and white wins.
Wm. F. Ryan.
Variation 1
6-10—,4 9-13 13-17 23- 5 6-10

29-2 fi -B, 3 23-18 22- 6 29-25 25-22—J,

ll-15 7-11 *—D 15-29 10- 6 a draw.

18-11 26-23 —E 24-19 1-10 Wm. F.

8-15 5- 9 2- 9 5- 1 Ryan.

25-22 30-25— F 19-15 10-14

4- 8 10-14* 11-18 1- 6

21-17 -C 17-10 14-17

A —Black has three good moves to start with. Most of our leading
masters have shown a preference for 9-13 here, but 6-10 (an earlier
favorite) and 11-15 are just as good. The principal advantage of the
text defense (6-10) is the fact that it may be applied also to another

two-move opening: 9-13, 22-17, 13-22, 25-18, 6-9, which develops

the same position.
B —Some players object to 6-10 at A because of the 18-14 “bust” at
this juncture, and others dodge 6-10 because of the situation arising
at C (21-17) in trunk. The analysis in this lesson is offered to prove
that both objections are unfounded. See Variation 3 for play on 18-
14.

C —This move has long been regarded as the major stumbling block
of the 6-10 defense. My innovation at D deflates this highly rated
attack.

D —This odd move improves on more published play than you can
shake a stick at. The accepted move in the past has been 8-11, as
used in the Stewart-Banks match, giving white a strong game. I had
this 7-11 improvement cooked up for Walter Heilman at the 1939
Tacoma National Tourney, but he avoided the whole line by playing
18-14 at B.

E —An innocent might try 30-25, at which point black will beat him
with: 10—14, 17-10, 13-17, 22-13. If 27-23 is used, then 5-9, 24-20*
(not 23-19, 2-7, 26-23, 1-5, 24-20, 15-24, 28-19, 10-15, 19-10, 7-21,
32-27, 9-14, etc., or black will win), 1-5, 28-24, 9-14, 18-9, 5-21, 23-
19, 2-6, 26-23, 3-7, will form the position on diagram at Note F.

F White is reluctant to allow the shot, but it’s his only good move. If
he tries 24-20, then 1-5, 28-24, 9-14, 18-9, 5-21, 23-19, 2-6, 27-23,
3-7, will produce the situation on the diagram.

22-17 *!—G 11-16

13-22 7-11

23-18 16-20

6- 9 11-15
20-16 22-25

11-27 15-10*

18- 2* 9-13—,

8-11 10-17

32-23* 13-22

10-14 30-26

2- 7* 25-30

26-17

21-25—/

17- 13 25-29 23-18 29-25 19-15 25-22

18- 14, producing a

^ raWt White to Play and Draw

Wm. F . Ryan .
1 II

Table captionG —A very useful idea to promote a draw.

Table captionH —If 14-17 is tried, then 19-16 spells recess without
decision. /—Or 30-25, 17-13, 25-22, 19-15, 21-25, 23-18, 25-30, 18-
14, which makes the same music in a different key.

Table captionJ —Fresh from the farm! When better eggs are laid, my
hens will

hatch ’em. Variation 2

32-28 —A 10-15*—/ 21-14 7-16 3- 8

14-17— B,C 8- 4 6- 9 17-14 2- 6

25-21 —F 15-18* 26-17 16-20 8-11

10-14* 4- 8 9-18 15-11 30-26

23-19 —G 18-22 24-19 23-26 11- 7

7-10* 8-11 27-32 30-23 26-19

27-23—H 27-32 19-15 18-22 14- 9-3,

15-18* 11-15 3- 7 11- 8 a draw.

19-15 32-27 31-27 22-26 A.J.

18-27 15-18 12-16* 8- 3 Hefner.

15- 8 14-23 20-11 26-30

A —Forms a position made famous by American Champion

A. J. Heffner of Boston, who published much fine play on it years

ago. The ramifications of this formation should be mastered by every
aspiring player, as it has been the nemesis of many headliners in the
checker firmament.

B —For play on 3-8, see Note C. If 15-18 is played, then white wins
with: 13-9, 6-13, 26-22. Several world champions have lost here by
taking 14-18, which is followed by: 23-14, 10-17, 27-23 (25-21 also
wins, but not so easily; in the old days the win was negotiated by 25-
21), 7-10, 25-21, 10-14, 24-19, 15-24, 28-19, 3-7,19-16*, 12-19,23-
16,7-10,16-7, 2-11,26-22*!, 17-26, 31-22, 11-15, 22-17, 15-19, 20-
16, 19-23, 16-11, 23-27, 11-7, 27-31, 7-3, 31-27, 3-7, 27-23, 7-11,
23-18, 30-25, 5-9, 11-7, 18-15,

25-22, and white wins. John H . Langan vs. Wm. F. Ryan .

C —3-8 also gains a draw, but it is more difficult than with 14-17.
After 3-8, the play should be 24-19—D, 15-24, 28-19, 11-15, 1916—
E , 12-19, 23-16, and at this point, 15-19* produces the draw; 132
but in a world’s title match between C. F. Barker and Clarence
Freeman, the former played 7-11 (a losing play) and Freeman
(white) won with: 16-7, 2-11, 27-23*!, 14-17, 25-22*, 8-12, 3127*, 12-
16, 27-24, 17-21, 23-19, etc. After Freeman defeated Barker with
this “catch,” the latter used it on J. P. Reed with the desired result!

D —23-19, 15-18*, 26-23, 5-9*, 25-21, 18-22, 30-26, 11-15,

26- 17, 8-11, 31-26, 11-16, 20-11, 7-16, 24-20*, 15-31, 20-11, 31-22,
23-19, will end in a draw. W. L. Taylor .

E —Another road to a draw is: 20-16, 15-24, 27-20, 12-19, 23-16, 7-

11, 16-7, 2-11, 26-23, 8-12, 25-21, 10-15, 31-26, 12-16, 26-22, 6-
10*!, 13-9, 15-19, 9-6, 19-26, 30-23, 11-15*, 20-11, 15-18. Oliver J.
Mauro vs. Wm. F. Ryan.

F —If 25-22 is played, then the play for a draw takes the following
course: 5-9, 23-18, 10-14, 27-23, 7-10, 24-19, 15-24, 28-19, 3-7, 31-
27, 11-16, 20-11, 7-16, 18-15, 14-18, 23-5, 16-32, 15-11, 1216, 5-1,
16-19. A. J. Hefner.

G —All the prominent champions of the past have tried in vain to win
after this move.

H —If the choice is 30-25, then the draw is accomplished with: 3-8*,
25-22 (19-16, 12-19, 27-23, 2-7, 23-16, 8-12, 31-27, 12-19,

27- 23, 5-9* 23-16, 15-18, 24-19, 11-15, leads to draw play by Frank
Dunne), 15-18, 22-15, 11-18, 27-23, 18-27, 19-16, 12-19, 24-15, 10-
19, 31-15, 6-9*, 13-6, 2-9, 28-24, 9-13, 24-19, 14-18*, 21-14, 13-17*,
19-16, 8-12, 16-11, 12-16*, 11-7, 16-19, and the piece on 26 goes.
W. Hawkins.

I —From here to the end, white can maneuver for an advantage in

several ways. However, black cannot be denied a draw.

J —A splendid analysis by one of the great stars of yesteryear.

Variation 3
18-14 12-16 24-19 —B 16-19—J 27-23

10-17 26-23 —A 4- 8 23-16 18-27

21-14 16-19 31-26 7-11 32-23

9-18 24-15 6- 9 16- 7 2- 7,

23-14 11-18 19-15 —F 3-26 a draw.

1-6 28-24 11-16 30-14 Wm. F.

29-25 8-11 26-22 *—G 9-18 Ryan.

A— Any other move at this point would give black an easy time of it.
If 27-23 or 24-20 is tried, then 16-19 is the reply; if 25-22 is utilized,
6-9 and 16-19 are both good in rebuttal; if 26-22 is played, 6-9 will do
the job.

B —A natural though timid move. The following offers white more

winning chances and was played at the Tacoma National
Tournament in 1939, in a game between Author Ryan and Walter
Heilman, the latter playing white: 31-26, 4-8, 23-19 (24-19 would still
be Variation 3), 6-9 * (6-10 is a dead loss), 19-15— C , 9-13*— D ,
24- 19, 13-17, 32-28, 2-6, 28-24, 11-16!— E, 19-12, 7-10, 14-7, 3-28,
12-3, 28-32, 3-7, 32-23, 26-19, 17-22, 25-21, 18-23, 19-15, 22-26,
21-17, 26-31, 30-25, 31-26, 17-13, 23-27, 7-10, 26-30, ending in a
draw.

C— Best try. If 24-20 is chosen, 2-6, 19-15, 9-13, 26-22, 7-10, will
corner a draw. If 26-22 is played, 2-6, 22-15, 11-18, 30-26, 9-13, will
give black a fertile game.

D —The only move. Tescheleit’s Master Play shows a draw by 11-

16, 15-10, quoting a game between Kear and Jackson. But after 11-
16, play 24-20*, and black will have to do more than whistle to get
past the graveyard.

E —This simplifies an ending that has been made unnecessarily

complex by the draughts doctors. A number of standard works
illustrate a draw that is more difficult to negotiate, by using 6-9 at this
point. However, the text mops up dangerous details at once.

F —Again, Tescheleit’s Master Play shows play on 26-22, 9-13,

giving white the better game. But if after 26-22, you play 2-6, 22-15,
9-18, 23-14, 11-18, 30-26, 6-10, 25-21, 10-17, 21-14, 7-10, the draw
is easy. Wm. F. Ryan.

G —This is a new approach. I consider 26-22* the only move that

will save white’s skin. 15-10, 9-13, 23-19—77, 16-23, 26-19, is given
to draw in Tescheleit’s Master Play , but my play produces a black
win by: 13-17, 19-15—/, 17-22* (corrects Jackson vs. Kear again,
where 17-21 is played, allowing a draw by 10-6 in reply),

25- 21, 22-25 (7-11 is also titanic), 21-17, 25-29, 17-13, 18-22, 32-
28, 22-26* (the fixer), 30-23, 29-25, 14-9, 5-14, 10-6, 2-9, 13-6, 25-
22, 6-2, 22-26, 2-4, 26-10, 27-23, 10-7, 28-24, 7-11, 24-19, 3-7. Wm.
F. Ryan .

77—This is a strong sequence for black: 26-22, 7-11, 22-15,

134
11- 18, 25-22 (10-6, 2-9, 14-10, 9-14, 10-6, 8-12, 6-1, 5-9, 1-5,

16- 19), 18-25, 30-21, 16-20, 23-18 (23-19, 8-11 wins), 13-17, 27-23,
17-22, 14-9, 5-14, 18-9, 22-26, 21-17, 26-31, 23-19, 31-26,

17- 13, 26-23, 19-16, 20-24, 9-6, 2-9, 13-6, 23-19, 16-12, 8-11,

6-2, 11-15. Wm. F. Ryan .

7-25-21, 18-22*, 10-6, 2-18, 21-14, 22-26*, 30-23, 18-22,

19- 15, 22-26, 15-10, 26-30, 10-6, 7-11*, 23-19, 30-26, 14-10,

8-12, 32-28, 26-31, 27-24, 11-16, 19-15, 16-20, 24-19, 31-26, and
black wins. Wm. F. Ryan.

J —If 9-13 is played, 14-10, 7-14, 15-10 will be good enough; if 16-
20 is selected, then the following leads to a draw: 23-19, 9-13 (2-6
also draws), 15-10*, 7-11, 22-15, 11-18, 19-16, 8-12, 16-11,

12- 16, 25-22, 18-25, 30-21, 16-19, 32-28, 20-24, 27-20, 19-23,

20- 16, 23-26, 28-24, 26-30, 24-20, 30-26, 11-7, 2-11, 16-7, 2623, 7-
2, 23-18; a fine unpublished variation by J. P. Murray.
A Trap with a Tale
11-16 22-18 —D 6- 9 18- 9 23-32

24-19 20-24 19-15*—/ 5-14 26-22

1
8-11 27-11 13- 9 17-26
oo

22-18 10-15 23-18* 16-19 —M 30-14

16-20 19-10 12-16 —K 9- 5 32-27

25-22 6-29 21-17* 14-18 14-10,

9-13 —A 28-24 —G 13-22 5- 1 a draw.

29-25 —B 29-25 26-17* 22-17 —N Wm. F.

11-15 —C 32-27—H 25-22 1- 5—0 Ryan.

18-11 1- 6 17-13* 19-23 —P

7-16 24-19 9-14 —L 31-26

A —Baiting the trap. While this move is dangerous if white is not
lured into the snare described at Note D, it is safe enough in the
hands of an experienced player.

B —White can also play 30—25, to which black replies: 11-16, 22-
17, 13-22, 26-17, 10-14, 17-10, 6-22, 25-18, 5-9, 29-25, 2-6, 28-24,
7-10, 18-14, 9-18, 23-7, 3-10, 21-17, 16-23, 27-18, 20-27, 32-23, 4-
8, 25-22, 8-11, 18-14, 10-15, 17-13, 12-16, 14-9, 6-10,

9-6, 10-14, 6-2, 15-19, 22-18, 19-26, 18-9, 26-30, 2-7, 30-25, 9-5,
25-22, 13-9, 22-25, 9-6, 1-10, 7-14, 25-22, 5-1, 16-19; a draw.
Nathan H. Rubin vs. Wm . p. Ryan.

C—Years ago, this move was published as a losing play by the late
A. J. Heffner. However, when I was 16, I used it in a game against
the great Louis Ginsberg (see Note D) at the Brooklyn Checker Club,
and not only gained a draw, but in doing so, I knocked out the
Heffner win! This was my first achievement of note as a draughts
player, and to this day I consider my game with Ginsberg one of the
best played. The standard draw play at C is: 11-16, 18-14, 10-17, 21-
14, 6-10, 25-21, 10-17, 21-14, 1-6, 22-18, 13-17, 28-24 (or 18-15, 4-
8, 28-24, 7-10, 14-7, 3-10, 26-22, 17-26, 31-22, 5-9, 30-25, 9-14), 4-
8, 32-28, 7-10, 14-7, 2-11, 26-22, 17-26, 31-22, 6-10, 22-17, 5-9, 17-
13, 9-14, 18-9, 11-15, 9-6, 15-18. H. F. Shearer.

D —White innocently advances into the ambush and gets a rude

awakening. Although 22-18 does not lose, it comes so close to a
loss that one must have a full knowledge of the after play to draw
with white. The correct and only good move here is 28-24, and until I
appeared on the scene in 1923, it was regarded as a winner.
However, after I played the following game with Mr. Ginsberg in that
year, the analysts changed their tune and agreed black could draw:

28-24 1- 5*

10-14* 19-15— E
22-18 10-28

6-10* 22-17

18- 9 13-22

5-14 26-10

25-22 16-19*

23-16 2- 7*

12-19 10- 6

27-24 —F 7-10*

20-27 15-11

31-15 8-15

4- 8 6- 2

21-17 5- 9*

17-13 10-15;

9-14 drawn.
13- 9 Wm. F.

3- 7* Ryan

2-18 vs.

14-23 Louis

9- 6 Ginsberg.

E —When Champion Heffner first worked on this position, he gave

the following as white’s strongest attacking play: 22-18, 3-7, 18-9, 5-
14, 26-22, 14-17, 21-14, 10-26, 31-22, 7-10, 30-25, 10-14, 25-21, 2-
6, 22-18, 6-9, 18-15, 13-17, 15-10, 17-22, 10-6, 22-25, 6-2, 25-29, 2-
6, 9-13, 6-9, 13-17, 9-18, 17-22. Later, Mr. Heffner claimed that 19-
15 would win, adding that he could find no draw for black,

F— After my game with Ginsberg, recorded in Note D , another

member of the club, who had been quietly watching the play,
expressed the opinion that he thought white had better play. His
name was Samuel Gonotsky, and he became the Checker
Champion of America less than six months after this memorable
incident. I challenged Mr. Gonotsky, and a match of four games was
arranged for the next afternoon. The match got under way, and to
everybody’s surprise (including my own) I won the first game. My
good fortune, however, did not last, for I lost the second game. The
third game was a draw, and in the fourth and final game, we reached
the position given at Note F. Instead of taking back the piece by 27-
24 at that point, as in the Ryan-Ginsberg game, Gonotsky continued
21-17, 19-24, 17-13, 4-8, 10-6, 2-9, 13-6, and it looked as if my
goose were cooked, with General Gonotsky having what appeared
to be an impenetrable king row. Blindly I stumbled on, and by some
queer turn of fate I managed to draw the ending and the match, like
this:

Table captionContinue from diagram:

5- 9 9-14 11-15

6- 2 17-21 23-19

9-13 14-18 15-18

2- 6 13-17 19-16

3- 7 30-26 18-22

6- 9 21-25 16-11

7-10 18-22 22-26

9- 6 17-21 31-22

10-14 22-29 24-31;

6- 9 8-11 draw

14-17 26-23 agreed.

MEN AGAINST A KING

Black to Ploy and Draw

Although thereafter I had the pleasure of contesting hundreds of

crossboard thrillers with Silent Samuel, in those days every game I
played was an adventure into the unknown, and more often than not
I spent my time trying to squirm out of tight places into which I had
fallen because of my ignorance of published play. Gonotsky was a
merciless adversary, and he required only one bad move by an
adversary to win. He rarely fumbled an advantage once he promoted
one. My experiences in match play with Gonotsky

were very costly, so much so that members of the club came to know
me as “Sam’s meal ticket.” However, it was this early training with a
supermaster that created a firm foundation for my own successes; it
developed a resourcefulness in my play that could be born only of
necessity and predicament!

G —Anything else would permit black to steal the piece on square

11.

H —To stop 5-9. 23-19 loses quickly by 13-17, 21-14, 3-7, etc.

I —The only move to draw. 23-18 is shattered by 13-17 in reply.

J— Best. 9-14,15-10,13-17,11-7, 2-11, 10-6, 25-22, 6-1, 22-18, 1-6,

will favor white.

A*—Or 9-14, 18-9, 5-14, 27-23, 13-17, 23-18, 14-23, 21-14, 25-21,
26-19, 21-17, 14-9 *, 17-14, 9-5, and white is safe. Wm. F. Ryan.
A—Black has numerous ways to manipulate the ending, but white
seemingly can pull through on all tires. Here is something unique
and scientific: try 2-6, then 15-10* (the only move that will draw for
white), 6-15, 13-6, 22-17, 11-7*!, 15-22, 31-26*!, 22-31, 7-3, 31-24,
3-28; a draw. Wm. F. Ryan. Again at A, if black plays 16-19, proceed
with 13-6, 2-9, 27-23, 19-26, 30-23, and the draw is established in a
few more moves.

M —If 22-18 is played, 31-26 is correct to draw.

N— 19-23, 27-24, 23-27 (22-17, 31-26), 24-20, 27-32, 30-26 (not 1-

5, 18-23, 31-27, 23-26*, 30-23, 22-26, as black will win), 22-25, 20-
16*, 25-30 (8-12 allows the compound stroke by 1—5, 12-19, 11-7,
2-11, 15-8, 4-11, 26-23, for a draw), 16-12, 30-23, 12-3, 23-19, 15-
10, 19-16, 3-7 or 10-6, gains a draw. Wm. F. Ryan.

0 —Threatening 15-10 next.

P —If 17-14 is tried, then counter with 30-26. Black’s advantage has
disappeared.
California Bold Rush
It has been wisely written that “a little nonsense now and then is
relished by the best of men.” The game that follows here assembles
the facts and figures on a California calamity, starring Mr. Erie C.
Wright, of Hollywood, in the ill-fated 138

role of a dashing boardsman who strived valiantly, but not too

successfully, to take me over the jumps in an analytical controversy.
Mr. Wright sent me a letter, suggesting that 13-17 at the thirteenth
move of trunk (Note B) would draw, and knock out play I have given
for a white win in my Modern Encyclopedia of Checkers. I replied,
advising him I didn’t think his 13-17 move would draw; that I did not
have time to analyze it, but that if he really believed it would draw, I’d
be willing to take the white pieces by postal card play and give him
the draws as wins at $5.00 per game. Wright decided to try one
game on these terms, and the trunk game shows how Mr. Wright
was fleeced of his five dollars, and made a sadder but wiser man.
The notes on the play indicate that Wright was right after all, and
should have collected, but that’s another story unfolded in the game
proper.

Erie C. Wright !—Black Author Ryan —White

10-15 23-18 11-15—J 19-15* 26-31

21-17 10-17 32-28 30-25 —K 2- 6

9-13 27-23 15-24 23-19* 31-27

17-14 1- 6 —D 28-19 25-30 —L 6-10

15-18 —A 26-22 —E 14-17 15-10* 27-32

22-15 17-26 13- 9 30-16 10-15

11-18 31-22 17-21 20- 2 32-28

24-19 7-10— G, 2 9- 6 12-16 15-18

8-11 22-17* 21-25 14-18 28-32

28-24 6- 9 —H 6- 1* 21-25 18-23

4- 8 13- 6 25-30 18-23 32-28

24-20 2- 9 1- 6* 25-30 23-27.

13-17— B,l 17-13 10-14 10- 6 White

25-22 —C 9-14 6- 9* 16-20 won.

18-25 18- 9 14-17 23-19

29-13 5-14 9-14 30-26

6-10 30-26*—/ 17-21 6- 2

A —Of course, 11-16 is the best move here, as shown in my Modern

Encyclopedia of Checkers. In that book, the text move (15-18) is
regarded as a loser. This rating was tagged to it after Messrs. A. J.
Mantell, of New York City, and Wm. T. Dailey, of Lanett, Alabama,
two of America’s foremost analysts, had labored on it for some time
and could find no draw.

B —It appears now that this situation was explored (after a fashion)
before Mantell and Dailey were born, forj. D. Janvier, of Brooklyn,
New York, offered this move (13-17) to draw many years ago.
Strangely enough, neither Mantell nor Dailey considered the text, or
at least they did not publish it; yet it is the only move to draw for
black. Usually, a move of this type is a herring when played so early
in the game, but this is the exception.

C —By far the strongest reply to 13-17, yet it was not even
considered by Janvier, who continued 25-21, 6-9, 30-25, 9-13; now
Janvier gave 19-15, but Willie Gardner, of Leeds, England, showed it
to lose by 12-16 in reply. In place of 19-15, the great Gardner
restored the draw by 25-22, 18-25, 29-22, 1-6, 23-18, 11-16, 20-4, 3-
8, 4-11, 7-30, 14-10, 6-15, 18-11, 17-26, 31-22, 30-25,

22- 18,25-22, 18-15.

D —Again the only move to draw. 7-10 loses neatly by 13-9*

(corrects Robertson’s Guide), 5-14, 18-9, 11-15, 19-16*, 12-19,

23- 16, 1-5, 9-6*, 2-9, 16-11, 8-12, 20-16, 12-19, 26-23, 19-26, 31-6,
and white wins— Wm. F. Ryan. In a recent exhibition game with my
old friend, Norman G. Stephenson, of New Britain, Connecticut, we
reached the position in trunk (after 1-6) by the following unusual
order of moves: 9-14, 24-19, 5-9, 22-17, 11-15, 17-13, 15-24, 28-19,
1-5, 25-22, 14-17, 21-14, 9-25, 29-22, 10-14, 22-18, 14-17, 27-24, 8-
11, 24-20; now here I played 4-8! (draws with a wheeze and forms
trunk position at D), remarking to Mr. Stephenson that if he could
beat my 4-8, the lesson learned would be worth the price of defeat.
At the last move, 3-8 of course is better than 4-8, then 19-15 forms a
position similar to one that occurred in a world’s title match between
James P. Reed and Charles F. Barker. After 19-15, 5-9 draws in a
dance, but Barker wedged in 12-16, and then Smokey Reed stunned
Stonewall Barker with one of the most demoralizing coups on record:
12-16, 15-10*!, 6-22, 13-9*, 5-14, 23-18, 14-23, 26-3, and Reed won.
All the 140

foregoing side remarks show how closely related three-move play is

to go-as-you-please or two-move play, since countless positions
recur and transpose under any style of play.

E —Up to now the game has proceeded on a basis of development,

with black meekly defending with waiting moves, and white
theoretically securing all the strategic squares and holding an
obvious cramp on black’s single corner. Despite these advantages,
white does not seem to have a winning position—a very unusual
case. White must now make a committal move, and black seems to
have a ready defense against anything. There are several tries for a
win here, all of which I examined with microscopic care, but I found
only draws. (You can imagine how many ambitious critics will scurry
for their boards when they read this!) Here are a few sample
variations on alternative attacks at E: 32-27, 7-10*, 18-15— F, 11-18,
23-7, 3-10, 27-23, 8-11, 19-16, 12-19, 23-7, 2-11, 31-27, 10-14*, 27-
24, 11-15*, 20-16, 15-18, 16-11, 18-22, 26-23, 22-26, 11-7, 17-21, 7-
3, 26-31, 3-7, 14-17*, 23-18, 31-27, 18-14, 27-20, 7-2, 5-9,

14- 5, 6-10, ending in a draw. Wm. F. Ryan.

F —These moves will do no better than draw: 19-16, 12-19, 23-7, 2-

11, 27-24 (the shot by 18-15, 11-18, 26-22, 18-25, 30-7, 3-10,

20- 16, 8-12, 16-11, 10-14 makes only a draw ending), 10-15, 18-14,
3-7, 26-23, 15-18, 31-27, 8-12*.

G —This loses. 6-10 here also loses to: 32-27, 5-9, 13-6, 2-9, 30-25,
10-14, 25-21, 7-10, 27-24, 3-7, 22-17, 9-13, 18-9, 13-22,
21- 17, 22-26, 9-6, 26-31, 6-2, 31-26, 23-18, 26-23, 18-15, 23-16,

15- 6, 7-10, 2-7, with white winning. Wm. F. Ryan. The only possible
move to draw is 6-9, as worked out in Variation 1.

H— At this point, Mr. Wright remarked in a letter, “All right, Willie, it’s
your turn to roll the dice, and don’t fade out!” Actually, Mr. Wright had
already faded out (at G), but apparently was not yet aware of his
predicament. I was well aware of all this, as I had discovered the 6-9
draw (Variation 1) shortly after I got into the wager with him. It was
then too late to call the wager off. I promptly went to Mr. Abe Mantell,
reporting my findings, since he had claimed the 15-18 move at B a
loss. We went over the territory together, and agreed the whole
formation was only a draw. Then I remarked to Abe, “Sufferin’
mackerel, I can’t allow that guy to clip me for five dollars. Why, I’ll
never hear the end of it! What line

141

should I take to ambush him?” Replied Abraham, “I like that 26-22

attack. I don’t think he’ll find that 6-9 move before 7-10. You know an
analyst will sometimes work on a position right down to the bone,
and often give credit to his opponent for finding certain moves that
actually he may not find.” Thus on Mantell’s recommendation, I took
26-22 at E, and sure enough, Brother Wright missed the boat by
replying 7-10, and saving my five dollars from a one-way trip to the
Golden West!

7 Starts a fine end game win that brings out a lot of fancy king play.

J —The only plausible defense.

K Mr. Wright’s belief that this ending would draw was based on
playing 21-25 here, but it loses at once by 14-10, 25-29, 20-16 (the
snap that snared Erie’s plans), 12-19, 23-16, 30-23, 15-11,

8-15, 10-26, 3-8, 26-23, 8-12, 23-19, and white wins by First
Position. Of course, if black tries 3-7 at K, then the slip-shot by 23-
19, 30—16, 20—4 puts an end to the agony.

L —If 3-7 is played, then follow through with: 15-10, 7-11, 10-7, 25-
30, 26-22, 30-26 (if the move is 30-25, then 22-17, 25-22 will
produce the same result), 22-17, 26-22,17-13, 22-17,14-18, 21-25,
7-3, 25-30, 3-7, and white wins. Wm. F. Ryan.

Variation 1

6- 9 *—A 32-27 14-18* 14-23 15-19

13-6 3- 7 2- 6 —E 32-28 27-31

2- 9 27-24 18-23 23-19 19-23;

22-17 —B 10-14 6- 9 8-11 drawn.

9-14* 18- 9 23-27 19-16 Wm. F.

18- 9 —C 7-10 9-14 28-19 Ryan.

5-21 9- 6 27-32 16-23

23-18 10-14 19-15 11-15

7-10 6- 2 11-18 23-27

A —The only move to draw, and it improves on Mr. Wright’s play. E If
30—26 is played, then 7-10* draws at once; and if the move is 30-
25, then build up to a draw with: 7-10, 25-21 (or 32-27,

142

9- 14, 18-9, 5-14, 22-18, 14-17, etc.), 3-7, 21-17—7), 9 14, 18 5-21,
23-18, 21-25, 18-15, 11-18, 22-6, 8-11, 6-1, 25 30, 1 30-26, 32-27,
26-22, 27-23, 22-17, 23-18, 17-22, 18 14, 22 1/ Wm. F. Ryan.

C —17-10, 7-14, 18-9, 5-14, 32-27, 3-7*, 30-26, 14 17, 21 IH. 17-21,
27-23, 21-25, 18-14, 25-30, 19-16, 12-19, 23-16, 30 21,

16- 12, 23-18, etc. and a draw. Wm. F. Ryan.

D —32-28, 9-14, 18-9, 5-14, 22-18, 14-17, 21-14, 10-17, 18 14,

17- 22, 23-18, 22-26, 19-15, 26-31, 15-10, 31-26, 10-3, 26 22, 14-9,
22-15, 9-6, 15-19 (15-18 draws), 6-2, 11-15, 2-7, 15 18, 7-10, 18-23,
etc., producing a draw. Wm. F. Ryan.

E —19-15, 18-23, 15-10, 12-16*, 2-7, 23-27 (16-19 will draw),

10- 6, 27-32, 6-2, 8-12, 7-3, 32-27, etc., for a draw. Wm. F. Ryan.
The Shot That Was Heard
Around the World
In bringing my work on brilliancies of the checkerboard to a
conclusion, I have reserved the greatest practical shot of them all for
this, the last chapter. It is truly a once-in-a-life time stroke, for it has
been overlooked by some of the foremost stars in the draughts
firmament. This remarkable coup stands out with particular
significance because the stroke (shown here for the first time)
automatically knocks out .til published play related to it. What follows
below should run vince the most skeptical checker master that the
best laid plans and play of the champions can be upset by the dcvn
tating consequences of a supershot!

9-13 7-11 5-14

22-18 24-20 23-18

6- 9 4- 8 14-23

25-22 28-24 27-18

11-15 3- 7 12-16— A,B,

18-11 26-23 which forms

8-15 9-14 18- 9 the diagram.

23-18

•Iu

. 55 ;•.

uiI

W hilt la n-f «m4 Wm

141

Table captionContinue:

32- 25- 9- 6—
21-17 *—F 1- 5
28 29 1

13- 17-
2- 6 —G 24-19 *—H White
22 13

28-
29-25* 15-24 9-14 wins.
3

13- Wm.
6- 9 18-14* 5- 9
9 F.

21- 14-
25-21 * 9-25 Ryan.
17 17

A Although the position diagrammed examined

has been and

played by a horde of great players, including Richard Jordan, G. F.

Barker, Harry Freedman, Hugh Henderson, Alfred Jordan, Preston
Ketchum, James Jack, and numerous others, the only correct move
here has never been played or shown! In other words, the “greats”
have all been playing losing moves at this point, without knowing b!
The text move (12—16) was given to draw by Hugh Henderson and
James Jack, and for more than five decades it has been considered
the best defense for black. But it is a dead loss, and so is —a widely
endorsed alternative line propounded by the late Preston Ketchum.
Now the joker is that black’s only real move to draw is 1—5 a move
that has never been played or considered. This is the way we do it: 1
—5 *, 30—25! (a strong try for a win), 2—6, 32-28, 12-16, 31-27, 8-
12, 27-23, 16-19*, 23-16, 12-19, 22-17, 13-22, 18-14, 10-17, 25-18,
15-22, 24-8, 6-10, 21-14, 10-17, 8-3, 7-10, 3-7, 10-14, 7-10, 22-26,
etc., ending in a draw. Wm. F. Ryan.

B As explained in Note A, Ketchum gave 2-6 to draw, but it loses like

this:

2- 6 31-26*1 12-19 2- 6 26-31 16-11

32-28 *—C 9-14 26-23 11-15 10-17 19-23

1- 5 18- 9 19-26 6- 9 18-22 11- 7.

24-19 5-14 22-17 15-18 17-26 White

15-24 30-25*1 13-22 9- 6 31-22 wins.

28-19 11-15 —D 25- 2 10-15 20-16 Wm. F.

6- 9 19-16 8-11 6-10 15-19 Ryan.

C —This wins, correcting Ketchum, who played 30-26, allowing

black to draw by 1-5. The text starts a fine win that has escaped the
notice of champions for almost 40 years!

White wins against 13-17, 22-13, 11-15, 13-9, 15-24, 9-6,

24-27 E y 6-2, 7-11, 2-6 (26-22 also wins), 27-31, 6-15, 11-18,

144

26-22, 18-23, 22-18, 23-26, 18-9, 26-30, 25-22, 30-25, 22-17,

25- 22, 17-13, 22-18 or 31-26, then 21-17, etc. Wm. F. Ryan.

E —If 10-15 is moved, then play 6-2, 7-11 (8-11, 2-6, 14-18,

26- 22, 24-27, 22-17, 18-22, 25-18, 15-22, 17-14, 27-31, 21-17, 31-
26, 6-10, and white wins), 2-6, 14-18, 6-10,15-19,10-7,12-16, 26-22,
18-23, 7-3, and white wins. Wm. F. Ryan.

F —This wins handsomely and decisively, presaging one of the most

subtle shots of them all. I discovered this remarkable win while
preparing for my match with Walter Heilman for the World’s Title in
1949, but the opening never came out of the ballot box. There is no
doubt in my mind that hundreds of expert players have worked on
this move, but could get nothing out of it, abandoning the play at H
as unsatisfactory for white, overlooking the beautiful shot at that
point.

G —The following almost draws, but not quite: 8-12, 30-26*, 16-19,
32-28, 19-23, 26-19, 11-16, 18-11, 16-23, 11-8, 12-16 (23-26, 8-3,
26-30, 20-16, 12-19, 24-6, 1-10, 17-14, 10-26, 3-10, and white wins),
20-11, 7-16, 24—20, 16-19, 8-3, 23-26, 20-16*, 26-30, 16-11*, 10-15,
3-8*, 19-23, 8-3*, and white wins. Wm. F. Ryan.

H—A beautiful touch that comes with artistic finality.

/—This sparkling correction of long-standing published play proves

the importance that stroke strategy plays in establishing scientific
analysis. In this case, an undiscovered stroke is brought to light,
completely nullifying all data on a position that had been treated as a
draw for more than four decades.

SOLUTIONS TO EXAMPLES OF BASIC IDEAS

Example 1 27-23, 20-27, 23-18, 27-31, 18-2, 10-14, 2-6,

31- 26, 6-9, and white wins.

Example 2 21-17, 13-22, 15-10, 6-15, 18-11, 8-15, 25-11, 5-9, 29-25,
9-14, 25-22, and white wins.

Example 3 28-24, 20-27, 19-15, 11-18, 23-14, 9-18,

32- 14, and white wins.

Example 4 14-17, 22-25, 24-19, 16-23, 31-26, 23-30, 17—21, 30—

26, 21—23, 29—25, 23—18, and white wins.

Example 5 2-7, 11-15, 7-10*, 15-18, 31-26*, 25-30, 1014*, 30—23,

32-27, 23-32, 14-23, and black is stymied; white wins.

Example 6 4-8, 11-16, 8-12, 16-19, 12-16, 19-23, 16-19,

23- 27, 19-24, 27-31, 22-25* (the shift), 20-27, 25-22, smothered!
White wins.

Example 7 32-27, 25-22, 27-23, 22-17 (if 22-18, then 14-9 gets the
draw), 14-9, 6-13, 23-18, 17-21, 18-22, 21-17, 22-18, and white can
draw by see-sawing between squares 18 and 22.
Example 8 11-16, 19-15, 16-20, 18-14, 20-24, 14-10,

24- 27, 10-6, 27-31, 6-2, 31-27*, 2-6, 27-24*, 15-10, 24-20*,

10- 7, 3-10, 6-15, 8-11*, 15-8, 20-16, 8-4, 16-11, 12-8,

11- 7, 8-3, 7-11, 3-8, 11-7, 8-12, 7-11, 12-8, 11-7, and black holds a
draw by see-sawing between squares 7 and 11.

Example 9 19-15, 16-19, 23-16, 12-19, 15-11*, 7-16, 32-28, and

white wins.

Example 10 12-8, 1-6, 8-3, 6-10, 3-7, 10-14, 7-10, 14-18, 21-17*
(this pitch and the subsequent king-grip is the only way to win!), 13-
22, 10—15*, 18-23, 15-18, and white not only regains a piece but
also retains the move to win.

146

Example 11 28-24, 1-5, 24-19, 5-9, 19-15*, 9-14, and now the old
one-two shift by 22-26*, 14-7, 26-22, beats black, though a piece
ahead!

Example 12 32-27, 9-14, 25-22, 6-10, 29-25, 10-15, 2723*, 20-24,

23-19—the pinch that hurts; white wins.

Example 13 16-20, 11-16, 19-23, 16-19, 27-31, 19-28, 20-24!, 28-26,

31-13, and black wins.

Example 14 21-17, 25-29, 17-13*, 3-7, 12-8, 7-10, 8-3, 10-14, 3-

7,14-18,7-10, 18-23, 10-14*,22-26,14-17*, 26-31, and now the
throwout—30-25, 29-22, 17-19, ends all; white wins.

Example 15 23-19, 27-31, 22-18!, 14-16, 32-27, 31-24,

28- 3, and white wins.

Example 16 21-17, 25-29, 14-9, 6-10, 9-6, 10-15, 30-25!,

29- 22, 13-9, 22-13, 6-1, 13-6, 1-26, 12-16, 26-23, 16-20, 23-19, and
white wins.

Example 17 22-18!, 13-22, 32-27!, 31-24, 23-19, 24-15, 18-2, 10-15,

2-9, 15-19, 9-14, 19-23, 14-18, and white wins.
STANDARD LAWS OF THE
GAME The Standard Board
1. —The Standard Board must be of light and dark squares, not less
than fourteen and one-half inches, nor more than sixteen inches
across said squares.

2 . —The Board shall be placed so that the bottom corner square on

the left hand shall be black.
The Standard Men
3. —The Standard Men, technically described as Black and White,
must be light and dark (say red and white, or black and white),
turned, and round, and not less than one and oneeighth inch, nor
more than one and one-fourth inch in diameter.
Placing the Men
4. —The men should be placed on the black squares.

5. —The black men shall invariably be placed upon the real or

supposed first twelve squares of the board; the white men upon the
last twelve squares.
Order of Play
6 . —Each player shall play alternately with black and white men,
and lots shall be cast for the color only once—viz., at the
commencement of a match—the winner to have the choice of taking
either black or white.

7. —The first move must invariably be made by the person having

the black men.

148
Time Limit for Moving
8 .—At the end of Five Minutes (if the move has not been previously
made), “Time” must be called in a distinct manner, by the person
appointed for the purpose; and if the move be not completed on the
expiry of another minute, the game shall be adjudged as lost through
improper delay.

9 —When there is only one way of taking one or more pieces, “Time”
shall be called at the end of one minute; and if the move be not
completed on the expiry of another minute, the game shall be
adjudged as lost through improper delay.
Arranging the Men During a
Game
10. —Either player is entitled, on giving intimation, to arrange his
own, or his opponent’s pieces properly on tlu; squares. After the
move has been made, however, if cithci player touch or arrange any
piece without giving intimation he shall be cautioned for the first
offense, and shall forfeit the game for any subsequent act of the
kind.
Touch and Move
11. —After the pieces have been arranged, if the* person whose turn
it is to play touch one, he must either play it or forfeit the game.
When the piece is not playable, he is penalized according to the
preceding law.

12. —If any part of a playable piece be played over an angle of the
square on which it is stationed, the play must be completed in that
direction.
Capturing Play
13. —A capturing play, as well as an ordinary one, is completed
whenever the hand is withdrawn from the piece played, even
although two or more should have been taken.

14. —When taking, if a player remove one of his own pin < h he
cannot replace it; but his opponent can either play or in sist on his
replacing it.
False or Improper Moves
15. —Either player making a false or improper move shall instantly
forefeit the game to his opponent, without another move being made.
The “Huff” or “Blow”
16. —The “Huff” or “Blow” is (before one plays his own piece) to
move from the board any one of the adverse pieces that might or
should have taken. But the huff or blow never constitutes a play.

17. —The player has the power either to Huff, compel the take, or to
let the piece remain on the board, as he thinks proper.
Crowning the Men
18. —When a Man first reaches any of the squares on the opposite
extreme line of the board it becomes a King, and can be moved
backwards, or forwards, as the limits of the board permit (though not
in the same play), and must be crowned—by placing a man on the
top of it—by the opponent. If he neglect to do so, and play, any such
play shall be put back until the Man be crowned.
Drawn Games
19. —A Draw is when neither of the players can force a win. When
one of the sides appears stronger than the other, the stronger party
is required to complete the win, or to show to the satisfaction of the
umpire or referee at least a decided advantage over his opponent
within forty of his own moves— to be counted from the point at which
notice was given— failing in which he must relinguish the game as a
draw.
Conduct of Players and
Spectators
20. —Anything which may tend either to annoy or distract the
attention of the player is stricdy forbidden—such as

150

making sounds or signs, pointing or hovering over the board,

unnecessarily delaying to move a piece touched, or smoking. Any
principal so acting, after having been warned of the consequence
and requested to desist, shall forfeit the game.

21. —While a game is pending, neither player is permitted to leave

the room without a sufficient reason, or receiving the other’s consent
or company.

22. —Any spectator giving warning, either by sound, or remark, on

any of the games, whether playing or pending, shall be ordered from
the room during the match, and play will be discontinued until such
offending party retires.
Match Games
23. —A match between equals, wins and draws to count, should
consist of an even number of games, so that each player may have
the first move the same number of times.
Enforcement of the Laws
24. —Either player committing a breach of any of these laws must
submit to the penalty; and his opponent is equally bound to exact the
same.
Unforeseen Disputes
25. —Should any dispute occur not satisfactorily determined by the
preceding laws, a written statement of the facts must be sent to a
disinterested arbiter, having a knowledge of the game, whose
decision shall be final.