The Art & Science of Coaching Series

MOTION GAME
OFFENSES
FOR MEN'S AND
WOMEN'S
BASKETBALL
Harry L. "Mike" Harkins
Jerry Krause
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 Page 2
©1997 Coaches Choice Books. All rights reserved. Printed in the
United States.
No part of this book may be reproduced, stored in a retrieval system,
or transmitted, in any form or by any means, electronic, mechanical,
photocopying, recording, or otherwise, without the prior permission of
Sagamore Publishing, Inc.
ISBN: 1-57167-136-6
Book Layout: Michelle A. Summers
Diagrams: Deborah M. Bellaire, Julie Denzer, and Michelle Summers
Cover Design: Deborah M. Bellaire

Coaches Choice Books is an

imprint of:
Sagamore Publishing, Inc.
P.O. Box 647
Champaign, IL 61824-0647
(800) 327-5557
(217) 359-5940
Fax: (217) 359-5975
Web Site:
http//www.sagamorepub.com
 Page 3

Dedication

This book is dedicated to my wife, Grace, who, along

with being the love of my life, has been a working
partner in the books I have written. Without her
meticulous efforts on the diagrams and hours spent
typing, they might never have been completed.
H.L.H.

This book is dedicated to all those who have been

given unique talents to play the great game of
basketball. May they acknowledge that gift by
always giving something back to the game. May this
basketball coaching series be a gift to basketball
from the authors who have received so much from
the sport.
J.K
 Page 4

Acknowledgments
Grateful appreciation is expressed to the sources of my basketball
knowledge, including: Russ Estey and Mike Krino, my high school
coaches; Russ Beichly and Red Cochrane, my college coaches; Buck
Hyser, who gave me my first coaching job; and the players who have
played on my teams.
A final note of thanks goes to my childrenMike and his wife, Diane;
Patti and her husband, Ric; and Jim and his wife, Jeanneand my
number one fans, my grandchildren, Shellee, Jamee, Mike, Shawn,
and Walker.
A special acknowledgment goes to Jerry Krause for his diligent efforts
in helping me complete this book.
 Page 5

Contents
Dedication 3
Acknowledgments 4
Preface 7
Chapter
1. The Moving Stack Offense 9
2. The Variable Offside Cut Motion Game 23
3. The Flex-Plus Motion 39
4. The Guard Loop Three-Play Motion 55
5. The Passing Game Overload Motion 71
6. The 1-3-1 Wheel Motion Game 87
7. The Lob Motion 103
8. The DePaul Cut Motion Offense 117
9. A Disciplined Flex Control Motion 129
About the Authors 143
 Page 7

Preface
These basketball coaching books for men and women coaches are a
complete, comprehensive series of books designed to cover all
prominent offensive and defensive techniques and strategies used in
basketball, i.e., the X's and O's of the sport.
All coaches are reminded that all individual and team basketball is
dependent upon individual fundamental skills. You need to ensure that
your players are fundamentally sound in order to be able to execute
and offense and defense. Thus, fundamentals are always needed
before the X's and O's of basketball.
Coaches at all levels will be able to utilize this complete series of men
and women's books either as a complete package or as an integrated
supplement to presently used offenses and defenses. There is
something for every coach, from the novice to the most experienced
basketball wizard. It is our intent to meet the needs of all coaches at
all levels of playdevelop and enjoy your special approach to the X's
and O's of basketball.
 Page 9

Chapter 1
The Moving Stack Offense
The Moving Stack Offense is a five-player motion game that features
high-percentage shots. The design of the movement takes away the
offside defensive help and results in many one-on-one "post-ups" in
the ballside post area. It may be adapted for use against zone defenses.
Personnel Alignment
Since the offense is a five-player motion game, it is ideal for a team
without a dominant post player. It is a very functional plan for the
team possessing many "in-between size players" who would be
classified as large guards or small forwards. Players of this size often
have problems on teams running nonmotion plays from a standard 2-3
set. However, in a motion offense featuring "post-up" opportunities,
their skills can often be fully utilized. The motion begins with the best
ballhandler (1) at the point and a double stack with the two best post
players at the top of the stacks (see (4) and (5) in Diagram 1-1) and
the best jump shooters (2) and (3) in the bottom.
The Basic Motion
Player (1) must be the team's top ballhandler because he controls the
ball until the inside players in the stack, (2) and (3), pop out of the
downscreens set by (5) and (4), and an entry pass can be made.
In Diagram 1-2, (1) chooses to pass to (3). After the pass, (1) screens
down for the offside post player (4), who moves to the point. This
motion takes away the offside help's primary helper (X4) and permits
(5) to play one-on-one in the ballside post area.
If (3) does not have a shot, and (5) is not open, the next pass option is
to (4) at the point. Player (4) looks first for a shot; second, to (5) in the
post; and third, to (1), who received a downscreen from (2). See
Diagram 1-3.
In Diagram 1-3, it should be stressed that (4) can very often get the
ball inside to (5). When (3) had the ball. (5)'s defender (X5) was either
fronting (5) or at least playing to deny the pass. When (4) gets the
pass from (3), there is often an excellent
 Page 10
angle from which to pass to (5) for a power lay-up shot. The fact that
X1 and X2 are engaged in a stack play diminishes the possibility of
their helping X5.
After (4) passes to (1) coming out of the stack, the players screen
down for (5) who cuts to the point and the same options now exist on
the other side of the court. See Diagram 1-4.
Dribble Chase Play
When you want variety, or when the initial entry pass is being denied,
(1) may dribble at one of the wing players (2) or (3), and key the
dribble chase play. In Diagram 1-5, (1) chooses to dribble at (2). This
chases (2) down and across the lane. It also tells (4) to screen away for
(5), who cuts to the ballside looking for a pass from (1).

Diagram 1-1

Diagram 1-2
 Diagram 1-3

Diagram 1-4
Seeing this action, the offside wing player (3) moves down toward the
lane. After screening for (5), (4) cuts to the head of the key. See
Diagram 1-6.
 Page 11
If (5) is not open, (1) passes to (4) at the point. Player (4) may then:
(A) pass inside to (5) who has inside position on his defender X5, or
(B) look for (2) coming out of (3)'s downscreen of the offside stack
play. See Diagram 1-7.
If the pass is made to (5) he/she powers up for a lay-up. If (4) chooses
to pass to (2), (2) may shoot or look inside for (3). If nothing
develops, the motion will go on with (4) screening down for (5), and
then (1) screening down for (4). See Diagrams 1-8 and 1-9.

Dribble Chase
Diagram 1-5

Diagram 1-6
Diagram 1-7

Diagram 1-8

Diagram 1-9
 Page 12
Passes to the Post
Point-to-Post Pass
When this motion is being run, passes into the post (1) passes always
result in split plays. Diagram 1-10 shows what occurs when point
player (1) passes to post player (4), as he/she breaks high. This pass
keys (2) to backdoor his defender.
Player (4) looks first for (2) on the backdoor cut. Player (1) comes
down and screens for (2), who stops and then cuts to the wing area.
See Diagram 1-11. Player (3) becomes the new point player as (1)
rolls inside and then clears to the offside wing area. See Diagram 1-
12.
From there, if no shot is forthcoming, the ball can be passed to (3) at
the point and a new play may be run.
Wing Pass to Post
When a pass is made from a wing to the post (as the pass from (2) to
(4) in Diagram 1-13) a split play is again run. Player( 2) moves out to
screen (1), who come to the ball; (2) then rolls down the middle, and
(3) assumes the point position.
The simple movement of these two split plays has scoring potential
and keeps the defenders on (1) and (2) busy enough to prevent them
from sagging on post player (4).
Dribble Clear As Pressure Relievers
When this offense is being run, two passes in particular tend to be
denied by the defense. They are: (A) when point player (1) attempts to
pass to either wing player and (B) when a wing player attempts to
return the ball to the point.
Diagram 1-10

Diagram 1-11
 Page 13

Diagram 1-12

Diagram 1-13
Point-To-Wing Pass Denial
We have already established that when the dribble entry is used on the
initial phase of a play, the Dribble Chase Play is run. However, once
the offense has been initiated and the point player dribbles at a wing
player, a simple position exchange occurs. Diagram 1-14 shows (1)
dribbling at (2). This tells (2) to clear down and around post player (4)
and to the point. In effect, (1) and (2) have exchanged positions.
Player (1) would then pass to (2) and the basic continuity would
follow. See Diagrams 1-15 and 1-16.
Having two types of point-to-wing dribble plays may seem
complicated. However, we have found it to our advantage to teach
both, but either will suffice on its own.
Dribble Clear Wing
Diagram 1-14

Diagram 1-15
 Page 14

Diagram 1-16

Dribble Clear Point

Diagram 1-17
Wing-to-Point Denial
In Diagram 1-17, wing player (2) is unable to pass to point player (1),
so (2) dribbles at (1) and, in effect, changes position. Player (1) clears
down the lane to replace (2) at the wing.
From there, the continuity goes on. See Diagrams 1-18 and 1-19.
Auxiliary Plays
The following auxiliary plays may be used to add depth to the offense
as the season progresses, or to take advantage of specific situations.
Lob Play
At the moment in the basic motion when the player at the head of the
key ((4) in Diagram 1-20) passes to the stack side and screens down
for the offside post player, the lob play may be inserted. You may
need a verbal key for this play. This is accomplished by having the
offside post player (5) make a premature cut to the free throw line
area. Player (4) then attempts to use (5) to rub off the defender and
receive a lob pass from (2).
In the event (4) is not open, (5) pops out to the head of the key and the
basic motion is resumed. See Diagram 1-21.
 Page 15

Diagram 1-18

Diagram 1-19

Diagram 1-20

Diagram 1-21
Two-Player Front Option
If a team lacks a dominant point guard who can bring the ball upcourt
and control it until a play can be initiated, the following option may be
utilized:
Guards (1) and (2) share the task of bringing the ball upcourt. A
guard-to-guard pass is then made (as from (1) to (2) in Diagram 1-22).
Guard (1) cuts through and may: (A) loop around post player (4), or
(B) loop around post player (5) and wing player (3), who is stacked
inside (5).
A. Around the Post Player (4)
After passing to (2), (1) chooses to loop around post (4). This tells (3)
to go opposite (1) by popping out of (5)'s downscreen. See Diagram 1-
22. The players are then in position to run the basic motion.
 Page 16
B. Around the Stack
This time (1) passes to (2) and cuts around the stack. This tells (3) to
go opposite (1)'s cut by moving across the lane and utilizing (4)'s
downscreen to pop out to the wing area. The players are again in
position to run the basic motion. See Diagram 1-23.
Either option results in a double stack with a one-player front. This
option may be used by the team without a dominant guard that wishes
to run the moving stack offense.

Diagram 1-22

Diagram 1-23
Screen-and-Roll Option
The point player ((1) in Diagram 1-24) calls this option during the
basic motion. The player keys it by passing to a stack side and cutting
directly to the ballside corner.
This cut tells (5) to step out and screen for (3). Player (3) dribbles off
(5) and looks for either a jump shot or for (5) rolling. At the same
time, (2) screens down for (4), who pops to the wing area. See
Diagram 1-25.
If (3) does not have a shot and (5) is not open, (3) passes to (4), and
the basic continuity is resumed. See Diagram 1-26.
This option permits a team to interject a screen-and roll maneuver and
then return to the basic pattern without really interrupting the flow of
the offense.
 Page 17

Diagram 1-24

Diagram 1-25

Diagram 1-26

Diagram 1-27
Overshifted Post-Up Play
When the post player ((4) in Diagram 1-27) can score on the defender
at a very high percentage rate and a quick basket is needed, the
Overshifted Post-Up Play may be run.
This play is keyed by the offside post player (5) who, on a post-to-
wing pass, breaks to the ballside corner. This clears the defense's
primary helper X5.
Seeing (5)'s cut, (1) moves to the offside head of the key and (3)
flashes to the ballside high post area, as (2) attempts to get the ball to
(4). See Diagram 1-28.
If X4 plays behind (4), the post receives a pass from (2) for a one-on-
one play. See Diagram 1-29. If (4) is being fronted by X4, a lob pass
must be used because the offside defensive help has been cleared. (4)
should face the baseline to receive the lob post. See Diagram 1-30.
 Page 18

Diagram 1-28

Diagram 1-29

Diagram 1-30

Diagram 1-31
When (4) is fronted, (2) may also pass to (3) in the high post. This
will change the passing angle and leave (4) inside X4 on a ''seal"
move to receive a pass from (3) for a power lay-up shot. See Diagram
1-31.
Note that in all three of the options (1) has taken the defender to a
position that disallows any help on (3) or (4).
Player (2) may cancel this play at any time by dribbling at (1) and
keying the basic motion game. See Diagrams 1-32 and 1-33.

Diagram 1-32

Diagram 1-33
 Page 19

Versus Zone Defenses

Lob Option
Against zones, it is best to run the Lob Option and adjust its timing. In
Diagram 1-34, (1) brings the ball upcourt and stops. This keys (2) and
(3) to break out of their respective stacks. Player (1) chooses to pass to
(2). This tells the offside post player (5) to break to high post position.
If (2) can get the ball to (5), either (4) or the offside wing player (3)
are very often open.
At this point, (1) can cut through to the open low post area or stay out
front and move the ball with (2) and (3), as shown in Diagrams 1-35
and 1-36.
Player (2) passes to (5), who reverses it to (1), coming around (3)'s
downscreen. Player (3) attempts to pin the one defender nearest the
play inside the lane. Bringing big player (5) out front has an added
advantage in that he/she may be able to throw a two-hand overhead
pass over the defenders to (4) in the heart of the zone. See Diagram 1-
38.
Player (5)'s pass to (1) tells the offside post player (4) to break to high
post position and from there the same options prevail. See Diagram 1-
39.

Diagram 1-34
Diagram 1-35

Diagram 1-36

Diagram 1-37
 Page 20

Diagram 1-38

Diagram 1-39
Dribble Chase Play
The Dribble Chase Play may also be adapted to provide an excellent
zone play. In Diagram 1-40, point player (1) dribbles at wing player
(2). This tells (4) to screen away for (5), who cuts to a hole in the
zone. It also tells the offside wing player to screen down.
From there, (4) pops to the head of the key and the onside wing player
(2) who is being dribble-chased, may: (A) move to the ballside corner
and create an overload (see Diagram 1-4), or (B) cut across the lane.
This would tell (1) to quickly reverse the ball to (2) by way of (4), and
catch the zone overshifted. Note that (3) screened the nearest zone
defender. See Diagram 1-42.
Again, it should be stressed that (4) is tall and may be able to throw
over the smaller front zone players and directly to (5).
This concept may also be used on a wing-to-point dribble. In Diagram
1-43, (2) dribbles at (1), whose clearing cut creates an opposite
overload.
In Diagrams 1-44 and 1-45, (2) dribbles at (1) and an overshifted
screen play will result with (1) clearing to the side opposite (2)'s pass
to (3), Player (3) then reverses the ball to (1) by way of (2). Player (4)
screens down for (1) and the result is an overshifted screen play.
The lob play and the dribble chase play combine to make a strong
zone offense.
 Page 21
The Moving Stack Offense can test the defense both inside and on the
perimeter. It has pressure-relieving devices to counter today's
pressure-help defenses and is adaptable to zone defenses.

Diagram 1-40

Diagram 1-41

Diagram 1-42
Diagram 1-43

Diagram 1-44

Diagram 1-45
 Page 23

Chapter 2
The Variable Offside Cut Motion Game
This motion offense is built around offside screens, and cuts off the
screens. It is a continuity because the same cuts are made each time
the offense is turned over, and it is variable because the order of the
cuts is not always the same.
Personnel Alignment
The offense is initiated from a double stack and a point guard. The
two stacks are composed of two big players ((4) and (5) in Diagram 2-
1) on top of the stacks, and two smaller players, (2) and (3), at the
bottom of the stacks. Players (2) and (3) pop to the free throw line
extended as point player (1) penetrates to a safe passing distance. Big
players (4) and (5) then post up in their respective low post positions.
Offside Screens and Cuts
Once (1) has passed to a wing player (as to (2) in Diagram 2-2), the
post player on that side, (4), moves to the high post area.
From there the same screens and cuts are made in varying sequences.
A description of the three basic sequences (plays) follows.
The Basic Motions
Play #1Wing First Play
As wing player (2) in Diagram 2-3 receives the ball from point player
(1), the offside wing player (3) cuts off the low post player (5), and to
the ballside low post area vacated by (4)'s move to the high post area.
In Diagram 2-3, (2) should pass to (3) when open under the basket. If
(3) is not open (3) clears to the ballside corner. Seeing this, (4) screens
away for (5), who cuts to a ballside post position. See Diagram 2-4.
 Page 24

Diagram 2-1

Diagram 2-2

Wing First
Diagram 2-3
 Diagram 2-4
Player (1) then screens down for (4) who moves to the head of the
key; (2) may now pass to (5) moving to the post for a one-on-one play
or to (4) moving out front. See Diagram 2-5.
Balancing Move
When the pass is made to (4), (2) moves to the offside wing and (3)
moves to replace (2). The offense is now balanced and in position to
run a new play. (See Diagram 2-6.) Player (4) may then pass to either
wing and the motion would be repeated. See Diagrams 2-7, 2-8, and
2-9.
As shown in Diagram 2-7 through 2-9, (4) chose to key Play #1 again.
Play #2Screen-the-Wing Play
This time (1), after passing to wing player (2) as shown in Diagram 2-
10, screens away for the offside wing player (3), who cuts to the point.
This tells the onside post player (4) to screen away for the offside post
player (5), who cuts to the ballside high post area. Player (1) then cuts
off (4) to the ballside low post area. See Diagram 2-11.
 Page 25

Diagram 2-5

Diagram 2-6

Diagram 2-7
 Diagram 2-8

Diagram 2-9

Screen the Wing

Diagram 2-10

Diagram 2-11
Diagram 2-12
 Page 26
Balancing Move
If (1) is not open, (2) passes to (3) as (1) clears to the corner. See
Diagram 2-12. After this pass, (2) clears to the offside wing as (1)
moves up to replace (2). See Diagram 2-13.
The offense is now balanced and (3) may pass to either wing and
initiate a new sequence of cuts.
Play #3Quick Downscreen
This time after (1) passes to a wing (as to (2) in Diagram 2-14), (1)
immediately screens down for the offside post person (5). This forms
a double screen for (3), who cuts to the ballside post area as (5) uses
(1)'s screen to cut to the ballside post area as (5) uses (1)'s screen to
cut to the point.

Diagram 2-13

Downscreen
Diagram 2-14
Player (4) then screens away for (1) as (3) clears to the ballside
corner; (1) cuts to the ballside post area. See Diagram 2-15.
Balancing Move
If (1) is not open, (2) passes to (5) and the continuity is reset with (2)
moving to the offside wing and (3) replacing (2). See Diagram 2-16.
Reading and Timing the Basic Motions
In order to differentiate and then time these three plays, the players
must key on (1). If (1) chooses to run the wing play, the entry pass is
made to a wing (as to (2) in Diagram 2-17) and delays. If one chooses
to call the screen-the-wing play, (1) must (after passing) cut directly to
screen the offside wing defender. See Diagram 2-18.
 Page 27
(1) should have time to do this because (3) is taught to make a change
of direction before making a cut. If (1) chooses to run the quick
downscreen for the offside post player, (1) must pass to the wing and
immediately screen down as (3) cuts over (5). See Diagram 2-19.
Once one of these keys is established, the resulting continuity motion
should flow smoothly.

Diagram 2-15

Diagram 2-16

Diagram 2-17
 Diagram 2-18

Pressure Relievers
The prevalence of pressure-help-pass-denying defenses necessitates
the use of pressure relievers. The following three options permit the
continuity to negate pressure and flow smoothly.
Point-to-Wing Dribble Entry
In Diagram 2-20, point person (1) cannot make an entry pass to either
wing to initiate the continuity. (1) maintained the dribble and opts to
use the dribble entry by dribbling toward the wing person (2). This
tells (2) to loop around the ballside post
 Page 28

Diagram 2-19

Dribble Entry
Diagram 2-20
and move to the point. It also tells the offside wing (3) to cut off the
offside post (5).
If (3) is not open, (3) clears to the ballside corner and the posts (4) and
(5) exchange. See Diagram 2-21.
Player (2) then screens down for (4) who pops to the point and
receives a pass from (1). See Diagrams 2-22 and 2-23. Players (1) and
(3) then balance the offense by moving to the wings, and the next
sequence may be initiated by the new point person (4). See Diagram
2-24.
Wing-to-Point Denial Option
This time, the cuts have been made and the feeder at the wing (2)
cannot pass to the point to allow another sequence to be run. (2)
overcomes this denial by dribbling at the player at the point ((4) in
Diagram 2-25) and clearing (4) to the far wing position.
From there (2) can pass to either wing (as to (4) in Diagram 2-26) and
initiate a new play.
In the above play, (2) chose to call Play #2the screen-the-wing play.
 Page 29

Diagram 2-21

Diagram 2-22

Diagram 2-23

Diagram 2-24
 Diagram 2-25

Diagram 2-26
Balancing Move Denial
At times, when the pass to the point that initiates the balancing move
is being denied, the following option may be keyed. In Diagram 2-27,
(2) is unable to pass to either the post player (5) or the point player
(1). When this occurs, (2) may pass to (3) in the corner and clear to
the offside wing. Player (3) then dribbles to the wing as (1) changes
direction to get open.
From there, (1) may initiate the next motion sequence.
 Page 30

Auxiliary Plays
The following plays may be used to give the offense depth or to take
advantage of specific team strengths or opposition weaknesses in a
particular game.
Two-Person Front Play
This play is designed for the team that lacks a dominant guard who
can control the ball versus pressure until a play can be initiated.
In Diagram 2-28, the two guards (1) and (2) bring the ball upcourt and
(2) initiates a play by passing to the forward (4) and crossing to screen
away for forward (3) who moves to the point. Guard (1) utilizes (2)'s
crossing action and cuts to the ballside low post area for a possible
lay-up pass.

Diagram 2-27

Diagram 2-28
If (1) is not open, the ball is then reversed to (2) by way of (3). Player
(5) then swings to (2)'s side. See Diagram 2-29.
Player (3) may then: (A) delay and call the wing first play (Diagram
2-30), (B) quickly screen away and call the screen-away play
(Diagram 2-31), or (C) quickly screen down and call the quick
downscreen play. (Diagram 2-32).
UCLA Slash Play
The UCLA Slash Play may also be used as an entry to this continuity.
Diagram 2-33 shows (1) passing to wing player (2) and making the
slash cut off high post player (4). If (1) is not open, (1) clears to the
ballside corner. Note that (3) replaced (1) at the point.
 Page 31

Diagram 2-29

Diagram 2-30

Diagram 2-31
Diagram 2-32

Diagram 2-33
 Page 32
This slash cut replaces the cut by the offside wing and is followed by
a post exchange with (4) screening for the offside post player (5) who
cuts to the ballside post area. See Diagram 2-34. Player (3) then
screens down for (4) who pops to the point. See Diagram 2-35.

Diagram 2-34

Diagram 2-35
Balancing Move
If (2) passes to (4), (2) then moves to the offside wing area to replace
(1). See Diagram 2-36. The team is then in position to run the basic
continuity. See Diagram 2-37.
Dribble Entry #1 Play
One dribble entry to the basic continuity begins as (1) dribbles at (2)
and clears this player to the ballside corner. This tells the onside post
player ((4) in Diagram 2-38) to move high and the offside wing player
(3) to cut off the offside low post player (5). Player (4) then screens
away for (5) who cuts to the point. See Diagram 2-39.
Balancing Move
Player (1) then passes to (5) and clears to the offside wing area as (2)
replaces. See Diagram 2-40. Player (5) then passes to a wing as to (1)
in Diagram 2-41 and the continuity goes on.
 Page 33

Balancing Move
Diagram 2-36

Diagram 2-37

Dribble Entry #1
Diagram 2-38
Diagram 2-39

Diagram 2-40

Diagram 2-41
 Page 34
Dribble Entry #2 Play
Another dribble entry that can be used is as follows. Player (1)
dribbles at (2) who clears down and across the lane. This tells the
onside post player (4) to screen high and away for (3) who cuts over
(4) looking for a pass from (1). See Diagrams 2-42 and 2-43.
If (1) cannot pass to (3), (4) pops to the head of the key and receives
the pass. Player (2) then moves out of (5)'s downscreen and (4) passes
to (2). See Diagram 2-44. Player (5) moves high and (1) cuts off (3) to
start the basic continuity. See Diagram 245.

Dribble Entry #2
Diagram 2-42

Diagram 2-43
Diagram 2-44

Diagram 2-45
 Page 35

Versus Zone Defenses

With a few simple adaptations, the basic player-to-player continuity
can be used as a zone offense.
The Basic Motion
Diagram 2-46 shows (1) passing to wing player (2). This pass usually
keys the offside wing player (3) to cut low off post player (5). This
time, however, it tells the ballside post player (4) to drop low and the
offside wing player (3) to cut to the high post area.
If (2) can then get the ball to (3), a triangle play results; (3) may then
shoot or look for (4) and (5) inside the zone. If (2) cannot pass to the
middle, (3) clears to the ballside corner to create an overload. See
Diagram 2-47.
At the point, the post exchange occurs but with different timing.
Player (5) cuts to the high post area; if (2) can pass to (5), (5) looks
inside for (4). See Diagram 2-48. If (2) cannot pass to (5), (4) clears
away and (5) drops to the ballside low post area. See Diagram 2-49.

Basic Motion
Diagram 2-46
Diagram 2-47

Diagram 2-48

Diagram 2-49
 Page 36
Balancing Move
Players (2), (1), (3), and (5) then utilize the overload until (2) desires
to change it. See Diagram 2-50. (2) does this by passing to (1) and
clearing to the offside wing. Player (3) then replaces (2). See
Diagrams 2-51 and 2-52.
In Diagram 2-53, (1)'s pass to (2) restarts the continuity and keys (3)'s
cut to the high post to form a new triangle play.
This adaptation of the basic continuity has great zone potential
because it consists of a triangle play, an overload, and quick reversal
to an overshifted screen. If necessary versus zones, it may be
complemented by a version of a dribble entry play.

Balance
Diagram 2-50

Diagram 2-51
Diagram 2-52

Diagram 2-53
 Page 37
Dribble Entry Play
Player (1) dribbles and clears (2) to the ballside corner; (3) then
replaces (1) at the point. Diagram 2-54 shows the resulting overload.
Players (1), (2), (3), (4) then utilize this overload by moving the ball.
The post players make their exchange as the ball is being passed
around the overload. See Diagrams 2-55 and 2-56.

Dribble Entry-Zone
Diagram 2-54

Diagram 2-55

Diagram 2-56
Balancing Move
Wing player (1) may change the overload when desired by passing to
(3) and clearing to the offside wing area. Player (2) would then
replace (1). See Diagram 2-57.
From there, (3) may initiate the basic play (Diagram 2-58) or repeat
the dribble entry play (Diagram 2-59).
Using the basic player-to-player offense and dribble entry play as a
zone offense has distinct advantages. It tests zones in their most
vulnerable areasthe corner and middleand simplifies the coach's job.
 Page 38
This motion offense is very difficult to defense. It is virtually
impossible to anticipate your player's cut and the motion negates any
offside help. The fact that with a few simple adjustments the offense
may be used against zones adds to its value.

Balancing Move
Diagram 2-57

Basic Motion
Diagram 2-58

Dribble Entry-Zone
Diagram 2-59
 Page 39

Chapter 3
The Flex-Plus Motion
The Flex-Plus Motion is an extension of the very popular Flex or
Spots Offense. It has all the attributes of the flex, and adds a lob pass
option and a double screen option.
Personnel Alignment
This offense is a five-player motion shown in Diagram 3-1 that works
well for teams that lack a true post. Players (1) and (2) are the guards
who bring the ball upcourt and initiate the plays. Player (1) should be
the taller of the two because (1) will receive most of the lob passes;
(5) is the high post player who attempts to set up on the ballside; (3)
and (4) are the forwards who need adequate overall skills, but may be
small in stature. In general, this offense is designed for five mobile
players who can operate within the context of motion. See Diagram 3-
1.
The Basic Motion
The Flex
As previously stated, this motion is an offshoot of the Flex Continuity
Offense; also called the ''spots" motion. The flex is a five-player
motion with two basic options. As shown in Diagram 3-2, it begins as
(1) makes a guard-to-guard pass to (2). This pass keys the offside
forward (3) to cut off post player (5) and move to the basket. Player
(1) then screens down for (5) who moves to the guard position. See
Diagram 3-3.
After (2) passes to (5), the same two options are repeated with (3)
screening for (4) and (2) screening down for (3). See Diagram 3-4.
The baseline shuffle cutter is shown making a low cut in the diagrams.
If a defender overplays the low cut, the offensive player should make
a high cut through the lane.
 Page 40

Diagram 3-1

Basic Flex
Diagram 3-2

Basic Flex
Diagram 3-3
 Diagram 3-4
The Flex-Plus
The Flex-Plus Offense begins (5) in a high post position on the
ballside. After the guard-to-guard pass is made (as from (1) to (2) in
Diagram 3-5), (1) cuts off post player (5) to the offside lay-up slot for
a possible lob pass.
If (1) is not open, (2) passes to the forward, (4). This keys (3) to cut
off (1) to the ballside low post area. See Diagram 3-6.
If (3) is open as (4) moves under the basket, (4) should pass to (3). If
(3) is not open, (2) and (5) screen down and away for (1), who cuts to
the ballside head of the key. See Diagram 3-7.
Player (4) then passes to (1) who may shoot or run the motion again
by passing to (2). Player (2), who was the inside player on the double
screen, loops around (5) and to a guard position; (5) moves to the free
throw line extended. Also note that on the pass from (4) to (1), (3)
moved up to the high post position. See Diagram 3-8.
 Page 41

Flex Plus
Diagram 3-5

Diagram 3-6

Diagram 3-7
 Diagram 3-8
Once (1) passed to (2), the pattern would again consist of (A) a lob
pass to (1), keyed by (1)'s pass to (2) (Diagram 3-9), (B) the offside
cut of (4) off (1), keyed by (2)'s pass to (5) (Diagram 3-10), (C) the
double screen down and away by (2) and (3) (Diagram 311), and (D)
the reset phase with (2) looping around (3) to a guard position, and (3)
moving wide (Diagram 3-12).
Shuffle Cut Option
The Shuffle Cut Option converts the Flex-Plus Motion into a five-
player interchangeable motion.
At the point of the guard-to-forward pass ((2) to (4) as shown in
Diagram 3-13), the passing guard and the high post player usually
screen away for the offside screener (1).
 Page 42

Flex Plus
Diagram 3-9

Offside Cut
Diagram 3-10

Double Down
Diagram 3-11
 Reset
Diagram 3-12

Double Down
Diagram 3-13

Shuffle Cut
Diagram 3-14
When using the Shuffle Cut Option, (2) comes down and screens for
high post player (5) who pops to the ball side point. See Diagram 3-
14. Player (2) then continues his/ her cuts and screens for (1), who
cuts to the offside guard position. See Diagram 3-15.
 Page 43
From there, (5) passes to (1), cuts off (3) (who moved to the high post
area) for a possible lob pass. The same motion is then repeated. See
Diagrams 3-16 through 318.

Diagram 3-15

Flex Plus
Diagram 3-16

Shuffle Cut
Diagram 3-17
 Diagram 3-18

Pressure Relievers
Guard-to-Guard Pass Denial
When the guard-to-guard pass is being denied, the simplest remedy is
a guard-to-forward exchange ((2) to (4)). (1) passes to (4) and makes
the offside lay-up slot cut for a possible lob pass (Diagram 3-19).
Dribble Entry
This play also may be used when the guard-to-guard pass is being
denied. It may be used as an entry into the motion that adds variety.
Diagram 3-20 shows the pass from (1) to (2) being denied. Seeing
this, (1) dribbles and clears (3) across the lane to the far wing area.
Player (2) reads this key and cuts over post player (5) looking for a
pass from (1).
 Page 44
If (2) is not open, (1) passes to (4) at the point, who reverses it to (3).
Player (1) then cuts off (2) and moves to the ballside low post area.
See Diagram 3-21. Players (4) and (5) then double screen down and
away for (2). See Diagram 3-22.
Player (3) passes to (2), (4) loops around (5), and (1) moves up to the
high post. From there, the motion may continue. See Diagram 3-23.

G-G denial
Diagram 3-19

Dribble Entry
Diagram 3-20
 Shuffle Cut
Diagram 3-21

Double Down
Diagram 3-22

Reset
Diagram 3-23

Weakside Entry-Lob
Diagram 3-24
 Page 45
Weakside Entry
In the event the ball is brought upcourt on the weakside and (5) does
not adjust to that side, the basic motion is timed as follows: As the
dribbling guard on the weakside ((2) in Diagram 3-24) picks up the
dribble or keys this option, guard (1) cuts off the high post.
If (1) is not open, (2) passes to (4) to key the offside cut followed by
the offside downscreen by (2) and (5). See Diagrams 3-25 and 3-26.
Player (4) passes to (1) and the pattern is reset with (2) looping out
front and (5) moving wide, and (3) moving up to the high post. See
Diagram 3-27.

Weakside Entry-F
Diagram 3-25

Double Down
Diagram 3-26
 Diagram 3-27

Auxiliary Plays
Many of the popular set plays in use today may be used as entry
vehicles to the basic Flex-Plus Motion. Some of these plays are:
 Page 46
De Paul Cut
Diagram 3-28 shows guard (1) passing to forward (3) and cutting off
high post player (5) to the offside post area for a possible lob pass.
As soon as the possibility for the lob pass is over and (1) assumes a
screening position, (4) cuts off (1) to the ballside post area. See
Diagram 3-29.

DePaul Cut
Diagram 3-28

Diagram 3-29
After (4)'s cut, (2) and (5) screen down for (1), who moves to the
ballside head of the key. See Diagram 3-30.
Player (3) passes to (1), (5) loops to a guard position, (2) moves out
wide and (4) assumes a high post position. From there, the basic
motion may be continued. See Diagram 3-31.
 Double Down
Diagram 3-30

Diagram 3-31
UCLA Slash Cut Play
Another set play that may be run to provide the proper pattern set for
the Flex-Plus Motion is the UCLA Slash Cut Play. Diagram 3-32
shows (1) passing to (3) and cutting off high post player (5) to the
ballside post area; (5) then steps out and receives a
 Page 47
pass from (3). Player (3) screens down for (1), who pops to the wing
position. After setting the downscreen for (1), (3) moves to the high
post area; (2) and (4) exchange on the offside. See Diagram 3-33.

Diagram 3-32

Diagram 3-33
Player (5) may now pass to (1) for a jump shot or, as shown in
Diagram 3-34, pass to (4) and make a cut off (3) for a possible lob
pass.
From there, the basic Flex-Plus Motion options will follow. See
Diagrams 3-35, 3-36, and 3-37.
 Flex Plus
Diagram 3-34

Shuffle Cut
Diagram 3-35

Double Down
Diagram 3-36
 Reset
Diagram 3-37
 Page 48
Shuffle Cross Play
This entry maneuver is a popular pattern set play for shuffle teams. A
verbal or other signal may key this play. Diagram 3-38 shows (1)
passing to forward (3) and making a cut over post player (5), to form a
natural screen for (2), to cut to the ballside post area. The offside
forward (4) uses (1) as a natural screen and cuts to the point.
Player (3) looks first for (2) and, passes to (4) if (2) is not open. (5)
moves to the offside and stacks with (1). See Diagram 3-39.
Player (1) uses (5)'s downscreen to move to a guard position. Also
note that (3)'s pass to (4) keyed (2) to move to the high post. See
Diagram 3-40. The basic motion follows with (4) passing to (1) as the
key. See Diagram 3-41.

Shuffle Cross
Diagram 3-38

Diagram 3-39
Diagram 3-40

Diagram 3-41
 Page 49
Cross-the-Lane Play
This play may be also triggered by a verbal or nonverbal signal. This
time, after (1) passes to (2) and cuts off high post player (5), (1)
moves across the lane to the ballside low post area. See Diagram 3-42.
From there, two options are available:
Strongside Option
Player (2) quickly passes to (4), and (2) and (5) screen away for (3),
who moves to the ballside head of the key. See Diagram 3-43. The
offense is then reset. See Diagram 3-44.
Note in Diagram 3-43 that (3) faked a cut across the lane before
moving out front.

Cross the Lane

Diagram 3-42

Strongside
Diagram 3-43
Weakside Option
This time (2), after receiving the pass from (1), dribbles toward (on
the weakside) and passes to (3). See Diagrams 3-45 and 3-46. This
maneuver tells (4) to cut off (1) and move to the ballside post area.
See Diagram 3-47.
Players (2) and (5) then screen down for (1), who pops to the ballside
head of the key. See Diagram 3-48.
Then (3) passes to (1), (4) moves up to the high post, (5) loops around
(2) and out to a guard position, (2) moves wide, and the team is in
position to run another Flex-Plus sequence. See Diagram 3-49.
Note: This Cross-the-Lane Play may also be initiated with (1) passing
to (2) and making a shuffle cut across the lane. See Diagram 3-50.
 Page 50

Diagram 3-44

Cross the Lane

Diagram 3-45

Weakside
Diagram 3-46
Diagram 3-47

Double Down
Diagram 3-48

Reset
Diagram 3-49
Diagram 3-50
 Page 51
Post-to-Point Play
This play is a variation of the basic Flex-Plus Motion. It begins as
shown in Diagram 3-51 with guard (1) passing to guard (2) and
cutting off high post player (5) to the offside lay-up slot for a possible
lob pass.
Player (5) keys the post-to-point play by moving out front; (2) fakes to
(5) and passes to (4). This pass tells (3) to make the offside cut. This
time, however, (3) fakes a cut below (1) and cuts to the high post area.
See Diagram 3-52.
If (3) receives a pass from (4), he/she may shoot, or look for (1)
posting up inside. If (3) does not receive a pass, (3) continues the cut
to the ballside high post area. See Diagram 3-53.
As soon as (3) is across the lane, (2) cuts down the lane. Then (1)
screens down for (2) and the ball is reversed by way of (5). See
Diagrams 3-54 and 3-55.

Diagram 3-51
Post to Point
Diagram 3-52

Diagram 3-53

Diagram 3-54
 Page 52

Diagram 3-55
The motion is then reset. Player (2) keys this by dribbling out front.
This tells (5) to cut off (3) and restart the post-to-point motion. See
Diagrams 3-56 and 3-57. Run this continuously unless changed with a
verbal key.

Diagram 3-56

Diagram 3-57

Versus Zone Defenses

Post-to-Point Play
If you decide to use the offensive plan in this chapter, we suggest that
you use the post-to-point play as a zone offense. It is a very functional
zone plan.
Diagram 3-58 shows guard (1) passing to (2) and cutting off high post
player (5). This phase of the play has little zone potential except that
the front of the zone perimeter changes from even to odd. Many
matching zones will react to this change.
Player (5) steps out front and the front of the zone perimeter is even
again; (2) then fakes to (5) to pull the zone out and then passes to (4).
Player (3) cuts into the high post area to receive a pass from (4), then
shoot, or look for (1) inside the zone. See Diagram 3-59.
If (3) is not open, (3) moves to the ballside of the lane and (2) cuts
down the lane and around (1). Player (1) attempts to trap the zone
inside by screening the nearest zone
 Page 53
player until the ball can be reversed from (4) to (5) to (1). See
Diagrams 3-60 and 361. Player (2) may shoot or dribble out front for a
new play. See Diagram 3-62.
The Flex-Plus Motion has all the attributes of the Flex Offense plus a
lob option and a double screen replacing a single screen. It may be
initiated by way of several well-known set plays. The Post-Out
Motion, which works well in conjunction with the Flex-Plus Motion,
provides an excellent zone plan.

Diagram 3-58

Diagram 3-59
Diagram 3-60

Diagram 3-61

Reset
Diagram 3-62
 Page 55

Chapter 4
The Guard Loop Three-Play Motion
This offense is a very simple basic plan. However, it may be used
successfully at any level of competition. It consists of a single pattern
with three options and may be used with very few changes against
zone defenses.
Personnel Alignment
The motion is begun from a two-guard set and may be initiated on the
strongside or weakside. The strongside is the side with the most
players and is usually determined by the location of the post player
(5). The guards (1) and (2) must be able to resist pressure and initiate
the motion. One of them ((2) in Diagram 4-1) should have the ability
to score one-on-one from a low post position. The forwards (3) and
(4) should have strong ballhandling skills. Post player (5) should have
adequate one-on-one skills, be a good passer, and a strong rebounder.
The Basic Strongside Motion
As shown in Diagram 4-2, (1) passes to the forward (3) and cuts
through in a looping manner, down and around the offside forward
(4).
From there, the three options are: the split, the reverse, and the high to
low post play.
Split Option
After (1) passes to (3) and cuts through, (3) passes to (5) and splits the
post with (2). (1) does this by setting a definite screen for (2), and then
rolling down the middle after (2) cuts. The offside defenders are kept
fairly busy handling (4)'s downscreen for (1). See Diagram 4-3.
Player (5) may shoot or pass to the open player; (1) is responsible for
defensive balance. If no shot is forthcoming, the ball is passed to (1),
who has moved out front. From there, one of two things may be
planned. The offense may return to a two-player front or continue
from a one-player front.
 Page 56

Diagram 4-1

Basic-Guard Loop
Diagram 4-2

Split Post
Diagram 4-3
A. Return to a Two-Player Front
Player (1) may dribble away from and bring (2) out front where the
next sequence may be keyed from a two-player front. See Diagrams 4-
4 and 4-5.
B. Continue From a One-Player Front
Player (1) may key a new sequence from the one-player front with the
offside wing player (2) acting as the second guard. See Diagrams 4-6
and 4-7.
 Page 57

Return-Two Player Front

Diagram 4-4

Diagram 4-5

Stay-One player Front

Diagram 4-6
 Diagram 4-7
Reverse Option
This time, after (1) makes the pass to (3) and loops around (4) on the
other side, (3) chooses to run the reverse option. (3) does this by
dribbling toward and passing to (2). This dribble sets up (3)'s defender
(X3) for a screen by (5). See Diagrams 4-8 and 4-9.
Player (2) may then pass to (1) looping around (4), or to (3) cutting
off (5)'s screen for a possible lob pass. See Diagram 4-10.
If nothing develops, (2) may initiate a new sequence from this 1-2-2
set with the offside wing player ((3) in Diagram 4-11), acting as the
second guard. If you prefer to run each sequence from the 2-3 set, (2)
may dribble away from and call (1) out front and then initiate a new
play. See Diagram 4-12.
 Page 58

Diagram 4-8

Reverse Option
Diagram 4-9

Diagram 4-10
 Diagram 4-11

Reset-Two Player Front

Diagram 4-12
High to Low Post Option
Player (1) again passes and cuts through and (3) may call split play by
passing to (5), call reverse by passing to (2), or run high to low post
option. This option is actually called by the offside inside player ((4)
in Diagram 4-13); (4) observes that post player (5) is being fronted.
This tells (4) to pop to the high post area and receive a pass from (3).
(4) then looks for (5), who seals the defender and receives a pass for a
power lay-up shot.
 Page 59

Diagram 4-13
Player (1) again maintains defensive balance. If a shot is not available,
the ball is passed outside and the pattern is reset in a 2-3 or 1-2-2 set.
Diagrams 4-14 through 4-18 show the offense being run as a
continuous motion and using all three options.
It might be wise to run these three options in various orders as a
shadow or skeleton drill (no defenders) in practice with a shot taken
on the completion of the third option.
A. Reverse Option

Diagram 4-14
 Diagram 4-15
B. High to Low Post Option

Diagram 4-16

Diagram 4-17
 Page 60
C. Split the Post Option

Diagram 4-18

The Basic Weakside Motion

The weakside motion begins on the side opposite the post player. In
Diagram 4-19 post player (5) sets up on (4)'s side and (1) starts the
play by passing to (3) and cutting down and around (5) and (4). Player
(2) uses (1)'s cut to move toward the ballside.

Weakside Motion
Diagram 4-19
Post player (5) then uses (1)'s diagonal cut as a moving screen to
move to the ballside post area. From there, one of the three basic
options may be run. See Diagrams 4-20 through 4-25.
 Page 61
A. Split Option

Diagram 4-20

Diagram 4-21
B. Reverse Option

Diagram 4-22
 Diagram 4-23
C. High to Low Post Option

Diagram 4-24

Diagram 4-25
 Page 62
Big Guard Post-Up
Along with these three basic plays, the Big Guard Post-Up may be run
on the weakside. This occurs after (1)'s pass to (3) and screen away
for (2). Player (2) uses the screen to cut low for a one-on-one play.
See Diagrams 4-26 and 4-27.
If, after posting up, (2) decides to clear the post area, (5) uses (2) and
cuts to the ballside. Note that (2) and (1) change assignments. See
Diagram 4-28.
From there, one of the three basic options (split, reverse, high post
pass) may be run.

Big Guard Post-Up

Diagram 4-26

Diagram 4-27
 Diagram 4-28

Pressure Relievers
The following pressure-relieving plays may be run versus teams that
deny the various passes that compose the pattern.
 Page 63
Dribble Entry
In Diagram 4-29, X3 has denied the pass from (1) to (3). Player (1)
dribbles and clears (3) across the lane and to the offside wing position.
Note that (2) made a change of direction before cutting to the ball.
The three basic options may then be run with (1) and (3) changing
assignments. See Diagrams 4-30 through 4-32.

Dribble Entry
Diagram 4-29
A. Split Option

Diagram 4-30
B. Reverse Option
 Diagram 4-31
C. High to Low Post Option

Diagram 4-32
 Page 64
Reversal Denied
When the opposition denies the reversal play, the guard at the point,
(2), cuts off forward (4) (who has moved to the high post area), and
moves to the offside lay-up area. Player (3) looks for a lob pass to (2).
See Diagrams 4-33 and 4-34.

Diagram 4-33

Diagram 4-34
If (2) is not open, he/she clears to the offside wing, (1) moves to the
point, and one of the three basic plays may be run. See Diagram 4-35.
High Post Pass Denial
In Diagram 4-36, X4 denies (3)'s pass to (4) in the high post area.
When this happens, (4) makes a change of direction, and cuts to the
basket for a lob pass from (3). For this to work, (4) must wait till (2)
clears to the wing area.
From there, (4) and (1) change assignments and the basic plays may
be run.

Diagram 4-35

Diagram 4-36
 Page 65

Auxiliary Plays
The following are other plays that may be added as the season
progresses. Some signal is needed to key the play.
Backdoor Split Play
In Diagram 4-37, guard (1) comes upcourt and passes directly to (5).
This tells (3) to backdoor the overplaying defender and cut to the
basket. At the same time, (1) and (2) split the post; (1) cuts first and
(2) uses (1) as a natural screen to cut to the ball. Player (4) steps up
and screens for (1), who moves to the offside wing area for a possible
jump shot.
Weave Play (A Weakside Play)
In Diagram 4-38 (1) passes to (3) and cuts through; (3) uses (1) as a
natural screen and moves toward (2). Player (3) may then hand off to
(2) who can possibly go all the way to the basket. See Diagram 4-39.

Backdoor Split
Diagram 4-37
Diagram 4-38

Diagram 4-39
 Page 66
As soon as (2) is stopped, (5) cuts off (1), and (4) cuts off (3). They
move to the ball for possible shot options. See Diagram 4-40.
From there, one of the three plays may be run. See Diagrams 4-41
through 4-43.

Diagram 4-40
A. Split Option

Diagram 4-41
B. Reverse Option
 Diagram 4-42
C. High to Low Post Option

Diagram 4-43
 Page 67

Versus Zone Defenses

When playing against zone defenses, the same pattern may be run.
Each of the three basic options has a viable function against zone
defenses.
Split Option
In Diagrams 4-44 through 4-46, (1) passes to (3) and cuts through.
This changes the offensive front from even to odd. Player (3) then
passes to (5) and the defense collapses on (5); (3) screens and attempts
to trap the zone inside as (2) cuts to the ballside. Note that (1)
established defensive balance.

Diagram 4-44

Split Option
Diagram 4-45
 Diagram 4-46
Reverse Option
This time after (1) passes to (3) and cuts through, (3) attempts to
reverse the ball to (1) by way of (2). Player (4) tries to trap the zone
inside and allow (1) an easy jump shot. See Diagram 4-47.
 Page 68

Reverse Option
Diagram 4-47
High to Low Post Pass Option
Player (1) passes to (3) and makes his/her cut; (4) cuts high and (3)
passes to (4). This tells (5) to post up and (1) to slide low. See
Diagrams 4-48 and 4-49.
Player (4) should turn and look for the shot. If the middle player of the
zone moves up, (5) may be open. In most cases, (1) will have an open
shot. When (3) had the ball, the zone shifted that way. It would be
very difficult for the zone to shift back to cover (1).

High to Low Option

Diagram 4-48
 Diagram 4-49
Weakside Zone Action
When the three basic options are run on the weakside, they have the
same attributes plus some further advantages versus zones.
Post Across
When the post player breaks to the ballside versus zones, he/she
breaks to an open shot. This pass, if completed, gets the ball inside the
zone and leads to many possible options.
 Page 69
Player (5) may shoot, hit (4) inside the zone, or reverse the ball to (1)
at the offside wing. As shown in Diagram 4-50.

Diagram 4-50
Big Guard Post-Up Play
As per the player-to-player weakside plays, guard (2) may cut to the
ballside post area. When this occurs versus zones, (4) cuts to the high
post, (3) passes to (4), and (4) may shoot or pass to (2) or (5) inside
the zone. This is a very difficult situation for zones to cover and leads
to many easy baskets. See Diagrams 4-51 and 4-52.

Diagram 4-51
 Diagram 4-52
If (4) is not open in the high post area, (2) clears the ballside post area,
and (5) cuts to the ballside; (3) then reverses the ball to (2) by way of
(1). See Diagrams 4-53 and 4-54. Player (1) may then cut through and
key a new play sequence.
This offense is an example of simplicity in the context of a functional
pattern. The three basic plays offer a wide variety of play options that
will thoroughly test the defenses. The offense may be run successfully
against player-to-player, zone, and combination defenses.
 Page 70

Diagram 4-53

Diagram 4-54
 Page 71

Chapter 5
The Passing Game Overload Motion
The Passing Game Overload is versatile in that it may be run as a five-
player interchangeable plan, or as an abbreviated continuity that keeps
the three small players (1), (2), and (3) on the perimeter, and the two
big players (4) and (5) on the inside. It uses the functional pass-and-
screen-away maneuver identified with the Passing Game and offers an
innovative offensive wrinkle by utilizing an overloaded set. This
overload, plus many middle testing cuts, makes it adaptable to zone
defenses.
Personnel Alignment
The motion is begun from a stacked 1-2-2 set. Point player (1) is the
team's best ballhandler, players (4) and (5) are the post players and
start at the top of the two stacks, and players (2) and (3) are the team's
best jump shooters, who need not be very tall. See Diagram 5-1.
The Basic Motion
The basic motion may be initiated from either: (A) a ballside cut
overload motion, or (B) an offside cut overload motion.
Ballside Cut Overload Motion
Diagram 5-2 shows point player (1) make a penetrating pass to wing
player (2) and cut down the lane to the ballside corner. This motion
tells (3) to take the point, and the onside post player (4) to screen
away for the offside post player (5), who moves to the ballside post
position.
 Page 72

Diagram 5-1

Ballside Cut Overload

Diagram 5-2
The Screen-and-Backdoor Option
At this point, (2) may pass to (5) moving to the ballside and then
screen for (1) or (3). The player (either (1) or (3)) who does not
receive the screen will backdoor, and the player receiving the screen
will utilize it by moving to the ball. Diagram 5-3 shows (2) passing to
(5) and screening for (3). This tells (1) to backdoor the defender. After
screening, (2) rolls down the middle.
Diagram 5-4 shows (2) passing to (5) and screening for (1). This tells
(3) to backdoor the defender. Player (2) again rolls after screening, as
(1) utilizes the screen.
In the event (2) cannot pass to (5) to key the screen-and-backdoor
option, (2) passes to and moves toward (3) at the point position.
Player (3) reverses the ball (4), who has moved up to that wing area.
Player (2) cuts low off (5), and (1) uses the cut as a natural screen as
he/she makes an arching cut to the high post area. See Diagram 5-5.

Backdoor and Split

Diagram 5-3

Backdoor and Split

Diagram 5-4
 Page 73
If neither (2), nor (1), is open, (2) moves to the ballside corner, and (1)
continues the arc to the ballside low post area. See Diagram 5-6.

Diagram 5-5

Diagram 5-6
Player (3) then screens down for (5); (5) uses this screen to move to
the point and the motion may be repeated from there. See Diagram 5-
7.

Diagram 5-7
Offside Cut Overload Motion
This time (1) passes to (2) and cuts down the lane to the offside. Post
player (5) uses (1)'s cut as a natural screen and moves to the ballside
high post area. Player (3) replaces (1) at the point; (1) continues the
cut to the offside wing area. See Diagram 5-8.
Player (2), upon receiving the ball from (1), looks first for (4) on the
inside. If (4)'s defender (X4) assumes a fronting or strong three-
quarter overplay position, (2) may pass to (5) breaking to the high
post area. This pass may result in (4)'s being inside the defender and
open for a pass from (5) and a power lay-up shot. See Diagram 5-9.
 Page 74

Offside Cut Overload

Diagram 5-8

Diagram 5-9
If (2) cannot pass to (4) or (5), (4) clears to the ballside corner and (5)
drops low. See Diagram 5-10. From there, (2) may again try to pass to
(5) and work a screen-and-backdoor option, or pass to (3), and restart
the motion. See Diagram 5-11.
If (1) does not pass to either cutter, (2) moves to the ballside corner
and (4) arcs to the low post area. See Diagram 5-12.
Diagram 5-10

Diagram 5-11

Diagram 5-12
 Page 75
Player (3) screens down for (5), who pops to the point. Player (1) may
then pass to (4) and work a screen-and-backdoor option with (5) and
(2). See Diagrams 5-13 and 5-14. Or (1) may pass to (5) and restart
the continuous motion. See Diagram 5-15.

Diagram 5-13

Diagram 5-14

Diagram 5-15
 Dribble Entry-Wing to Corner
Diagram 5-16

Pressure Relievers
Point to Wing Denied
When the initial point-to-wing pass that keys the basic motion is being
denied, the following entries may be utilized.
The Wing-to-Corner Dribble Entry
In Diagram 5-16, point player (1) cannot pass to either wing, so he/she
dribbles at wing player (2), who is cleared to the ballside corner. This
tells (3) to take the point, and the onside post player (4) to screen
away for the offside post player (5) who moves toward the ballside
post area.
Player (1) may pass to (5) and work the screen-and-backdoor option,
or reverse the ball to (4) by way of (3) to initiate the overload passing
game motion. See Diagram 5-17.
 Page 76
The Wing-Across Dribble Entry
Again, the point-to-wing passes are being denied and (1) dribbles at
(2). This time, (2) clears across the lane and (4) pops to the point as
(5) moves to the ballside high post area. See Diagram 5-18.

Diagram 5-17

Dribble Entry-Wing Across

Diagram 5-18
Player (1) reverses the ball to (2) by way of (4); (3) helps (2) get open
by screening down. See Diagram 5-19. Player (3) posts up and (2)
may shoot or pass into (3). Player (5) hesitates and then cuts to the
ballside high post area. If (3) is being fronted, a pass from (3) to (5) to
(3) may result in a power lay-up shot. See Diagram 5-20.
 Diagram 5-19

Diagram 5-20
If (2) cannot get the ball to (5), (3) clears to the ballside and (4)
screens away for (1), who cuts to the point. See Diagram 5-21. Player
(2) then passes to (1), who reverses the ball to (4) to start the basic
motion. See Diagrams 5-22 and 5-23.
 Page 77

Diagram 5-21

Basic Motion
Diagram 5-22

Diagram 5-23
 Point to Lob
Diagram 5-24
Wing to Point Denied
When the reversal pass from wing to point is being denied, the
following options may be run.
Point to Lob
In Diagram 5-24, the offside wing player (4) notices that (3) is being
denied the reversal pass. Wing player (4) then moves up and screens
for (3), who cuts off (4) to the offside lay-up area for a possible lob
pass from (1).
If (1) cannot pass to (3), (4) steps to the point and receives a pass from
(1). (4) then reverses it to (3), who has moved to the offside wing
area. From there, the basic motion is resumed. See Diagram 5-25.
Wing-to-Point Dribble Clear
A second method to combat the wing-to-point denial is a dribble clear.
Seeing that X3 is denying the pass to (3), (1) dribbles at and clears (3)
down the lane and to either corner. In Diagram 5-26, (3) chooses the
strongside corner. Player (1) passes to (4) moving to the wing and the
pattern resumes. See Diagram 5-27.
 Page 78

Basic Motion
Diagram 5-25

Dribble Clear-Wing to Point (Strongside)

Diagram 5-26
If (3) chooses to fill the weakside corner, (1) may pass to either wing
and the motion will resume at the point of the initial double
downscreens. See Diagrams 5-28 through 5-31.

Basic Motion
Diagram 5-27
Dribble Clear-Wing to Point (weakside)
Diagram 5-28

Diagram 5-29

Diagram 5-30
 Page 79

Basic Motion
Diagram 5-31

Auxiliary Plays
Corner Play
During the course of the basic motion, a corner play may be inserted.
In Diagram 532, (4) has the ball at the wing and passes to (1) in the
corner. Player (4) cuts through inside (1).
This tells the ballside post player (3) to step out and screen for (1).
Player (1) uses the screen by dribbling off it and then may hit the
roller (3) as shown in Diagram 5-33.

Diagram 5-32
 Corner Play
Diagram 5-33
If these first two options do not provide a shot, (1) may reverse the
ball to (4) by way of (2). Note that (4) used (5)'s downscreen to get
open. See Diagram 5-34.
If (4) receives the pass and no shot is open, (3) breaks to the high post,
(5) clears to the ballside corner, (2) screens away for (1), the ball is
reversed to (2), and the motion is run. See Diagrams 5-35 through 5-
37.
 Page 80

Diagram 5-34

Diagram 5-35

Diagram 5-36
 Basic Motion
Diagram 5-37
Tight, Inside Motion
When a quick, high-percentage shot is desired, the following Tight,
Inside Motion may be added. A key is needed to signal this option. In
Diagram 5-38, (1) dribbles at and clears (2) to the point. This tells the
offside wing player (3) to move in tight and screen down for the post
player on that side, (5). Player (5) uses this screen as he/ she loops to
the ballside high post area.
If (5) receives a pass from (1), (5) may shoot or look inside for (4).
See Diagram 5-39.
If (1) cannot get the ball to (5) to (4), (4) screens away for (3), who
cuts to the low post area on the ballside. See Diagram 5-40.
If (3) is not open, (1) passes to (2) at the point. Note that (2) had to
make a change of direction to get open. Player (2) then dribbles to the
open wing area and the Tight, Inside Motion is repeated. See
Diagrams 5-41 through 5-43.
 Page 81

Tight, Inside Motion

Diagram 5-38

Diagram 5-39

Diagram 5-40
 Diagram 5-41

Diagram 5-42

Diagram 5-43
Weakside Entry Pass
The Tight, Inside Motion may also be initiated in the following
manner. Diagram 5-44 shows point player (2) pass to the weakside
wing player (4). This pass tells the strongside wing player ((1) in
Diagram 5-45) to cut low off the doublescreen formed by players (5)
and (3).
 Page 82

Diagram 5-44

Diagram 5-45
Player (5) screens down for (3), who cuts to the ballside high post
area. See Diagram 5-46. Player (1) then screens away for (5), who
moves to the ballside low post area. See Diagram 5-47. If nothing
develops, (4) passes to (2), and the Tight, Inside Motion is resumed.
This motion works well in conjunction with the Overload Passing
Game because it provides a quick, high-percentage shot when one is
needed.
 Diagram 5-46

Diagram 5-47

Versus Zone Defenses

Ballside Cut Overload Motion
In Diagram 5-48, (1) passes to (2), cuts down the lane, and overloads
the ballside by cutting to that corner.
At this point, the timing of the motion is slightly different versus the
zone. Rather than (4) screening away for (5), as shown in Diagrams 5-
49, (5) cuts to the high post area on the ballside. If (2) cannot pass to
(5), (4) clears across the lane. Player (5) then slides low. See Diagram
5-50.
 Page 83

Ballside Cut Overload

Diagram 5-48

Diagram 5-49

Diagram 5-50
From there, the overload is maintained and utilized as long as the ball
stays on the overloaded side. See Diagram 5-51. Once (3) passes to
(4) on the weakside, the motion cuts are made. See Diagram 5-52.
Overload Triangles
Diagram 5-51

Diagram 5-52
 Page 84
Note that versus zones, the player in the corner ((1) in Diagram 5-53)
hesitates and permits (2) to cross the lane before cutting to the high
post area.
If (4) can pass to (1), either (5) or (2) may be open inside the zone for
a power lay-up shot. See Diagram 5-54.

Diagram 5-53

Diagram 5-54
If (4) cannot pass to (1), (2) clears to the corner and (1) slides to the
low post area. From here, the same overload rules and options prevail,
with the exception that (3)'s downscreen for (5) is omitted because it
has no value versus zones. See Diagram 5-55.
 Diagram 5-55
Offside Cut Overload Motion
When (1) passes to (2) and moves down the lane to the offside, (5)
cuts off (1) and to the ballside high post. If (5) receives a pass from
(2), he/she may shoot or look for (4) inside the zone. See Diagram 5-
56.
 Page 85
If (2) cannot pass to (5) or (4), (4) clears to the ballside corner to
create an overload and (5) drops low. See Diagram 5-57.
From here, the same rules and options prevail as when using the
ballside cut overload motion. That entails the overload until (3) passes
to (1). See Diagrams 5-58 and 5-59.
Player (2) cuts across the lane and then (4) cuts high. See Diagram 5-
60. Once (2) determines (1) cannot pass to (4) for the triangle play, (2)
clears to the ballside corner and (4) drops low. Note again that (3)'s
downscreen for (5) is not executed against zone defenses. See
Diagram 5-61.

Offside Cut Overload

Diagram 5-56

Diagram 5-57
Overload Triangles
Diagram 5-58

Diagram 5-59
 Page 86

Diagram 5-60

Diagram 5-61
These two motion plays will suffice as a zone offense. They test the
two most vulnerable areas of the zone. Those areas are the corner and
high post. The plays also allow the offense to overload and overshift a
zone.
The ballside and offside overload passing game motions provide a
sweeping type of offense that tends to spread the defense. Most of the
shot options are in highpercentage areas. The pressure relievers are
provided to combat pressure-and-help defenses. The auxiliary plays
may be used when and if needed. The fact that this offense may be
used as a zone plan makes it doubly valuable.
 Page 87

Chapter 6
The 1-3-1 Wheel Motion Game
The Wheel Motion Game is based on three circular patterns leading to
set plays. The Wheel Motion is run until one of the three perimeter
players introduces a set play by assuming an overload formation.
Personnel Alignment
The Offense is run from a one-guard (1) front, with two wings ((2)
and (3)), and a high and low post ((4) and (5)). See Diagrams 6-1. It is
an abbreviated continuity with (1), (2), and (3) interchanging on the
perimeter and big players, (4) and (5), remaining in their area of
expertise, the post positions.
The Three Wheel Motions
The three entries to wheel motion are the slash cut, the lob, and the
dribble entry. They are keyed in the following manners:
Slash Cut Key
Player (1) passes to (2), the wing player on the high post player's side,
and makes a slash cut off high post player (4), to the ballside lay-up
slot. See Diagram 6-2.
Lob Cut Key
This time (1) passes to the wing on the low post player's side (5), and
cuts off (4) to the offside lay-up area for a possible lob pass. See
Diagram 6-3.
 Page 88

Basic Set
Diagram 6-1

Slash Cut Entry

Diagram 6-2

Diagram 6-3
Dribble Entry Key
Player (1) dribbles at and clears (2) to the far wing position. See
Diagram 6-4.
 Diagram 6-4
From there, the three wheel motion patterns operate as follows.
Slash Cut Motion
After (1) passes as (2) and slashes off (4), the offside wing player (3)
replaces (1) at the point. Player (2) passes to (3), who reverses the ball
to (1), who has attempted
 Page 89
to run the defender off on (5) after cutting across the lane. See
Diagrams 6-5 and 6-6.
If (1) had not been open, (3) could have passed to (2) and repeated the
slash cut play. Since (3) did pass to (1), it keyed the lob play.

Slash Cut Motion

Diagram 6-5

Diagram 6-6
Lob Motion
In Diagram 6-7, (3) passed to (1) and then cut off (4) for a possible
lob pass. Note that (2) replaced (3) at the point; (3) was not open so
(1) passed to (2) at the point and any of the three types of motion may
be run. See Diagram 6-8.
 Lob Cut Motion
Diagram 6-7

Diagram 6-8
Dribble Entry Motion
The dribble entry is used when the defenders on the wing players are
denying the entry pass. Diagram 6-9 is a continuation of the previous
play sequence. Player (2) received a pass from (1), then has trouble
passing to (3) or (1) at the wings, and then dribbles at (3).
 Page 90
This dribble key clears (3) to the far wing position. Player (2) then
attempts to reverse the ball to (3) by way of (1), who replaced (2) at
the point. See Diagram 6-10.
The pass from (1) to (3) would then key the lob play. See Diagram 6-
11.

Dribble Entry Motion

Diagram 6-9

Diagram 6-10

Lob Cut
 Diagram 6-11
The Set Play Phase
The three wheel patterns are run interchangeably until a set play is
called by one of the perimeter players (1), (2), (3). They do this by
forming an overload. An example is shown in Diagram 6-12. Player
(1) passes to (3), runs the lob cut, and then cuts to the ballside corner.
This overload by the perimeter players tells both post players to move
to the ballside. See Diagram 6-13.
Diagram 6-14 shows an overload being created after a slash cut and
Diagram 6-15 shows an overload from a dribble entry key. Note that
post player (5) moved to the ballside.
From these overload formations, the following two set plays be run:
 Page 91

Ballside Overload
Diagram 6-12

Diagram 6-13

Ballside Overload
Diagram 6-14
 Dribble Entry Overload
Diagram 6-15
Set Play #1The Corner Play
In Diagram 6-16, (3) passes to (1) in the corner and cuts through.
Player (5) then steps out and works a screen-and-roll play with (1); (1)
dribbles off (5) and may: (A) shoot or pass to (5) on the roll (see
Diagram 6-17), or (B) pass to (3), who has looped around a double
downscreen set by (4) and (2) (see Diagram 6-18).
Once (3) has received the pass from (1) and is not open, (2) cuts to the
open wing, (4) moves high, and the Wheel Motions may be resumed.
See Diagram, 6-19.
 Page 92

Diagram 6-16

Corner Play
Diagram 6-17

Double Down
Diagram 6-18
 Diagram 6-19
Set Play #2The Force-a-Switch Play
At the time the overload was created, (3) had the ball at the wing and
the offense had assumed the overload formation shown in Diagram 6-
20.
To key the ''Force-a-Switch Play," (3) passes to (4) at the High Post.
Player (5) steps out and screens for (1), who cuts to the basket looking
for a pass. See Diagram 6-21.
In setting this screen, (5)'s goal is to force a switch. This leaves (5)
being guarded by small defender X1, who is in bad position to stop a
pass inside by (4). See Diagram 622.
If neither (1) nor (5) was open, it was probably because X5 and X1
fought hard to assume ballside and high defensive positions. When
this happens, (4) can pass to either wing and change the passing angle
to facilitate a pass inside. Diagram 6-23 shows (4) passing to (3).
Player (3) then passes inside to (5) for a power lay-up shot.
 Page 93

Diagram 6-20

Force Switch
Diagram 6-21

Diagram 6-22
 Diagram 6-23
The same passing angle change may occur on the other side. Diagram
6-24 shows (4) passing to (2), and (2) passing inside to (1) for a power
lay-up shot.

Diagram 6-24
 Page 94

Pressure Relievers
At the time when the set plays may be run, the defense tends to
overplay and three lob plays may be run to ease the pressure.
Lob to Low Post
Many teams have the defensive rule that requires their defenders to
front all low post players. However, in this formation there is no
offside help. This permits (3) to lob to (5) in Diagram 6-25.
Lob to High Post
Once the "Force-a-Switch Play" has been run, X4 will tend to
overplay (4). When this happens (as shown in Diagram 6-26), (3)
fakes a pass to (4), (4) backdoors, and then (3) lob passes to (4).
If (4) is a good jump shooter and (5) a strong post player, X4 has quite
a dilemma. If the defender helps on (5), (3) will pass to (4) for a jump
shot. If X4 plays tight on (4), (3) may lob to (5) or (4).

Lob-Low Post
Diagram 6-25
 Lob-High Post
Diagram 6-26
Lob to Point Man
In Diagram 6-27, the overload was formed and the offside wing player
(2) has drifted to the point. Player (3) fakes a pass to (2) and this tells
(2) to make a change of direction and cut off (4) to the offside lay-up
slot. If (2) is open, (3) throws a lob pass return.
These three lob passes tend to take away some of the defensive
pressure.
 Page 95

Lob-Point
Diagram 6-27

Auxiliary Plays
Offside Lob Play
This play starts in the same manner as the slash cut. To avoid
confusion, it is called by a hand signal. In Diagram 6-28, point player
(1) passes to wing player (2). The offside wing player (3) then cuts off
the low post player to the ballside lay-up area.
If (3) is not open, (3) clears to the ballside corner, (4) drops low, and
(5) moves up to screen for (1). See Diagram 6-29.
Player (2) then fakes to (1), i.e., "pulls the string" on the pass to (1).
This tells (1) make a change of direction and cut to the offside lay-up
area for a possible lob pass from (2). See Diagram 6-30.
If (1) is not open, the player moves to the offside wing area. The team
may now run one of the set plays.
Change-of-Assignments Lob Play
This play is run when the two post players (4) and (5) are being
dominated by their defenders, and the team's guards (1) and (2) are
strong inside. The play begins as the lob motion play, but when (1)
passes to (3), the offside wing player (2) cuts off (4) to the high post
area. See Diagram 6-31. Because its beginning is similar to the lob
motion, it must be called with an oral or hand signal. Player (2)'s cut
completely clears the offside help defenders and makes (1)'s
subsequent cut a more viable one. See Diagram 6-32.
If (1) is not open, (4) steps out front to receive a pass from (3). At the
same time, (5) swings across the lane to the wing position on that side.
See Diagram 6-33.
 Page 96

Diagram 6-28

Diagram 6-29

Offside Lob
Diagram 6-30
 Diagram 6-31

Change Lob
Diagram 6-32

Diagram 6-33
The team is now in position to resume one of the Three Wheel Motion
Plays. The difference is that the two post players (4) and (5) are now
perimeter players, and (1) and (2) have assumed the post assignments.
See Diagram 6-34.
Diagram 6-35 shows (4) keying the slash motion.
 Page 97

Diagram 6-34

Slash Cut
Diagram 6-35
This change-of-positions play will hopefully take the two big
dominating defenders covering (4) and (5) out of the lane area.
Point Lob Motion
This motion may be used as an alternative to the lob cut motion. It
begins as point player (1) passes to the wing player on the low post
side, and then cuts off high post player (4) for a possible lob pass.
Wing player (2) uses (1)'s cut and high post player (4) to get open as a
cut is made to the ballside high post area. See Diagram 6-36.
Player (3) looks first for (1) and then passes to (2) at the head of the
key. At this point, a wheel effect takes place with (3) cutting over (5)
as (1) clears under (5). See Diagram 6-37.
 Point Lob
Diagram 6-36

Wheel
Diagram 6-37
Player (2) may then pass to (3) going over the top, or (1) coming to
the wing after looping under (5). If neither (3) nor (1) is open, (2) may
wait for (4) to move down and screen for (3), to allow a pop to the
wing area on that side. See Diagram 6-38.
 Page 98
From there, (2) may pass to either wing player (3) or (1). In making
this pass, (2) always dribbles toward the desired side. This tells the
offside post player ((5) in Diagram 6-39) to move high. It also permits
the point player (2) to improve the passing angle to the desired wing.
If (2) had dribbled toward (1)'s side, (4) would have moved to the
high post. See Diagram 6-40.
From there, the motion would resume. See Diagram 6-41.

Diagram 6-38

Diagram 6-39
 Diagram 6-40

Point Lob
Diagram 6-41

Versus Zone Defenses

The Wheel Motion, with a few minor adjustments, may be run against
zone defenses. The three basic motion plays may be run with no
changes. During the motion of these plays, the following scoring
options will occur against zones.
 Page 99
Slash Cut Motion
In Diagram 6-42, (1) passes to wing player (2) and cuts through (1) is
then replaced at the point by the offside wing (3). Player (1) then
loops around low post (5). Versus zones, (5) may attempt to trap the
zone inside by screening the nearest zone player. The ball is then
reversed from (1) to (3) to (2) for a possible jump shot.
At all times, the three perimeter players are aware that a pass to the
high post (4) may lead to the low post's being open inside the zone.
For example, when running this play, it is also possible to reverse the
ball to (1) by way of high post player (4). This player receives a pass
from (2) and may pass to (5) inside or to (1) at the wing. See Diagram
6-43.

Slash Cut-Zone
Diagram 6-42

Diagram 6-43
Lob Play Motion
The Lob Play has no definite scoring options against zones. However,
the motion of this play will force zones to adjust. This is particularly
true of matching zone defenses.
Dribble Entry Play Motion
The Dribble Entry Play is especially effective when used on the wing
at the high post players side of the court ((2) in Diagram 6-44). Player
(1) dribbles at (2) and may clear (2) to the ballside corner to form an
overload (see Diagram 6-45), or around the offside post player for a
quick reversal play (see Diagram 6-46).
The Set Plays
During the three motion plays, an overload may be created by the
cutter going to the ballside corner. Once this occurs, the set plays may
be adapted to run against zones.
 Page 100
The Force-a-Switch Play
In Diagram 6-47, an overload has been formed and (2) calls the Force-
a-Switch Play by passing to (4) at the high post. This tells (1) to cut
off (5) and (3) to move to the offside wing. Player (1)'s cut has little
use against zones, but (5) is very often open inside the zone. If (5) is
not open, (4) looks for (3) at the far wing position.

Dribble Entry-Zone
Diagram 6-44

Diagram 6-45
 Diagram 6-46

Force-a-Switch Zone
Diagram 6-47
 Page 101
The Corner Play
The overload has been formed and this time (2) chooses to pass to (1)
in the corner. Player (2) then cuts through. Against zones, (4), the high
post player, moves down to screen for (2), and (3) stays at point. See
Diagram 6-48.
Player (1) then dribbles off (5) and may shoot, pass to (5) inside, or
reverse the ball to (2) by way of (3). See Diagram 6-49.

Corner Play-Zone
Diagram 6-48

Diagram 6-49
Thus, with a few adjustments, the three wheel motions and two set
plays may be run against zone defenses. They test the zone by forcing
it to cover overloads, overshifts, high to low post passes, and screens.
The Wheel Motion Offense moves the defense in three probing
patterns that may provide easy shots. By the time an overload is
formed, the defense may have relaxed and the Set Plays will be very
difficult for them to cover. This offense, with a few simple
adjustments, also works well versus zone defenses.
 Page 103

Chapter 7
The Lob Motion
This motion is an abbreviated continuity in that players (4) and (5)
remain in the pivot areas and (1), (2), and (3) move around the
perimeter. It is based around three of the most difficult maneuvers to
defense. They are the offside screen cut, the UCLA slash, and a
backscreen that results in a lob pass.
Personnel Alignment
Players (4) and (5) should be tall and able to leap to receive lob
passes. Players (1), (2), and (3) should be mobile, but need not be very
tall. The onside post player ((4) in Diagram 7-1) always sets up high
and the offside post player (5) sets up low.
The Basic Motion
The Basic MotionKey #1
In Diagram 7-2, (1) passes to (2) and does not cut. This tells the
offside wing player (3) to cut off (5) to the ballside post area.
Following (3)'s cut, (5) steps up and screens (4)'s player. Player (4)
cuts to the offside lay-up slot for a possible lob pass from (2).
Player (2) looks first for (3), then for (4) on the lob. If neither is open,
(2) passes to (1) at the point and he/she and (5) screen down for (3),
who pops to the wing for a possible pass from (1). Note that (1) had
made a change of direction to keep the defender busy. See Diagram 7-
3.
After screening for (3), (2) continues across the lane and loops around
(4) to the wing and receives a pass from (1). This pass makes (4) the
onside post player so he/ she sets up high. It also makes (5) the offside
post player to remain low. See Diagram 7-4.
The pattern is then repeated with (3) cutting off (5) and (5) screening
for (4) to facilitate the lob pass. See Diagrams 7-5 and 7-6.
 Page 104

Diagram 7-1

Basic Motion
Diagram 7-2

Diagram 7-3
 Diagram 7-4

Basic Motion
Diagram 7-5

Diagram 7-6
The Basic MotionKey #2
This time, (1) passes to wing player (2) and slash cuts off high post
player (4) and to the ballside low post area. This tells (3) not to cut off
(5), but to replace (1) at the point. See Diagram 7-7.
 Page 105
From there, the options are the same with (3) and (1) exchanging
assignments. See Diagrams 7-8 and 7-9.

Slash Cut
Diagram 7-7

Diagram 7-8

Diagram 7-9
Alternate Motion Keying Method
Another method of keying the motion is to have (1) pass to a wing (as
to (2) in Diagram 7-10) and screen away for the offside wing player
(3). From there, two things may occur: (A) player (3) may ignore (1)'s
screen and cut off (5). This tells (1) to cut back to the point. Or (B),
player (3) may utilize (1)'s screen and cut to the point. This tells (1) to
roll to the ballside post area. See Diagram 7-11.
Either of these options leaves the players in position to continue the
basic pattern.
 Page 106

Diagram 7-10

Diagram 7-11
Post Reversal Option
Once the motion has been initiated and a player has cut to the ballside
low post area, the wing with the ball ((2) in Diagram 7-12) may also
pass to the high post (5). See Diagrams 7-12 and 7-13.

Diagram 7-12
 Diagram 7-13
When this pass occurs, (2) still screens down for the player in the
ballside low post area. Player (1) pops to the ballside wing and (5)
may pass to (1) popping out, (4) posting up, or, as shown in Diagram
7-14, to (2) looping to the offside wing.
Player (5)'s pass to (2) tells player (5) to drop low and (4) to set up
high. From there, the basic motion is repeated. See Diagrams 7-15 and
7-16.
These plays make up the basic motion.
 Page 107

Diagram 7-14

Diagram 7-15

Basic Motion
Diagram 7-16

Pressure Relievers
Strongside Dribble Entry
When the initial passes to the wing are being denied, (1) may dribble
at a wing player (as at (2) in Diagram 7-17). This tells (2) to loop
around the high post player and to the point. Seeing (1)'s dribble entry,
(3) cuts off (5) and to the ballside low post area.
From there, the basic motion option may prevail. See Diagrams 7-18
through 7-20.
 Page 108

Strongside Dribble Entry

Diagram 7-17

Diagram 7-18

Diagram 7-19
 Diagram 7-20
Reversal Point-to-Wing Pass Denied
When the point-to-wing pass that reverses the ball and resets the
offense is being denied, the following dribble entry may be employed.
In Diagram 7-21, (1) has received a pass from (2). This time, instead
of waiting for (2) to move to the offside wing, (1) makes an
immediate dribble entry.
This dribble entry tells (2) to replace (1) at the point. See Diagram 7-
22. From there, the basic options of the motion may be resumed.
Pass-to-the-Post Backdoor Play
Another device that may be utilized when the defense is denying
passes to the wings is a pass to the post. In Diagram 7-23, (1) can pass
to neither wing so he/she then passes to the high post player (4). A
bounce pass may be used as a backdoor key although it is a slower
pass.
This tells the onside wing player (2) to backdoor the defender and (1)
to make a change of direction and become the second player through.
See Diagram 7-24.
 Page 109

Diagram 7-21

Dribble Entry-Point to Wing

Diagram 7-22

Diagram 7-23
 Wing Backdoor
Diagram 7-24
It also tells the offside wing player to make a change of direction and
cut to the point off a screen by (5), (3) becomes the third option. See
Diagram 7-25.
The final option comes as (2) continues to cut across the lane and
loops around (5) for a pass from (4). See Diagram 7-26.
From there, the basic motion is started as (4) drops low, (5) cuts high,
and (1) cuts off (4). See Diagrams 7-27 and 7-28.

Diagram 7-25
Diagram 7-26
 Page 110

Basic Motion
Diagram 7-27

Diagram 7-28

Auxiliary Plays
Post Loop Play
Diagram 7-29 shows (1) passing to (2), (3) cutting off (5), and (5)
blind screening for (4).
This time, after (4) cuts to the basket for a possible lob pass from (2),
he/she loops around (3) and (5) to the ballside. See Diagram 7-30.
This looping cut by (4) tells (2) to pass to (1) and cut over (5) for a
possible return pass. Player (1) may then pass to (2) or to (4) coming
around the double screen. See Diagram 7-31.
Five-Player X Motion
If you desire to run a five-player motion in conjunction with the lob
motion, the Five-Player X Motion will suffice. This offensive plan
moves all five defenders in a five-player continuity and should be
used when the defense is dominating the lane area.
Diagram 7-32 shows (1) passing to wing player (2). This tells the
onside post player (4) to cut to the far side of the lane, and above the
post-player (5) on that side. Wing player (3) and post player (5) then
use (4)'s cut with (3) cutting first over (4) and to a low position. Post
player (5) uses (3)'s cut as a natural screen and cuts to the ballside
high post area.
 Page 111

Diagram 7-29

Post Loops
Diagram 7-30

Diagram 7-31
 X Motion
Diagram 7-32
Following the X cut by players (3) and (5), (1) moves down to screen
for (4), who pops to the wing area. Player (2) then crosses the lane and
uses (1) as a natural screen and moves to the wing on that side. See
Diagram 7-34.

Diagram 7-33

Diagram 7-34
Player (4) may then pass to either wing (as to (2) in Diagram 7-35),
and the motion will be repeated. See Diagrams 7-36 and 7-37.
 Page 112

Diagram 7-35

X Motion
Diagram 7-36

Diagram 7-37
Force-the-Switch Play
As the X continuity progresses, a pass from the wing to the high post
player ((5) in Diagram 7-38) calls the Force-the-Switch Play.
This pass tells (3) to step out and screen (2)s defender (X2) and
attempt to force a switch. Player (5) looks first for (2) and a possible
lob pass. See Diagram 7-39.

Diagram 7-38

Diagram 7-39
 Page 113
If the lob pass is not open, (3) rolls inside and posts up (hopefully
with X2 guarding and in poor defensive position). See Diagram 7-40.
If (3) is not open, (2) loops around (4) to the offside wing and (5)
passes to (2). This tells (4) to screen away for (5) and (3), who execute
the X pattern. See Diagrams 741 through 7-43.

Diagram 7-40

Diagram 7-41

Diagram 7-42
 Diagram 7-43

Versus Zone Defenses

The Basic Motion
It is best to start this motion against zones by making a pass to the
wing on the low post side. This shifts the zone in that direction. See
Diagram 7-44.
Then, as the ball is quickly reversed to the other wing player (2) by
way of point player (1), (5) steps up and screens the overshift. See
Diagram 7-45. Player (3) uses this screen and cuts to the basket for a
possible lob pass. See Diagram 7-46.
If (3) is not open, he/she continues across the lane. At the same time,
(5) cuts to the ballside as (4) cuts over (5) to the offside low post area.
This lob motion has little
 Page 114
utility versus zones, but if (2) can pass to (5), either (3) or (4) may be
open inside the zone. See Diagrams 7-47 and 7-48.

Diagram 7-44

Diagram 7-45

Diagram 7-46
Diagram 7-47

Diagram 7-48
 Page 115
It should be mentioned that the time needed for the above play
sequence results in (2) holding the ball for an inordinate amount of
time. If (2) feels pressure, (2) may pass to (1) and receive a return pass
or initiate the dribble in place.
If (2) cannot pass to (5), then a pass should be made to (1) at the point
and (2) attempts to trap the zone inside by screening down for (3),
who has moved halfway to the ballside corner. See Diagram 7-49.

Diagram 7-49
Player (1) may then: (A) pass to (3) at the wing, (B) pass to (5), who
would shoot or look inside for (2) and (4) (Diagram 7-50), or (C) fake
to (3) and take a dribble toward the far wing. This move tells (2) to
clear across the lane and around (4)'s screen. Player (4) attempts to
trap the zone inside by screening the nearest zone player. See Diagram
7-51.
As (1) dribbled, (5) moved low, and (4) cut high. From there, (1)'s
pass to (2) restarts the motion. See Diagram 7-52.
 Page 116

Diagram 7-50

Diagram 7-51

Diagram 7-52
This lob-oriented motion involves many basic functional play
components. It is, in the main, an abbreviated continuity with big
players (4) and (5) staying close to the basket and the more mobile
players (1), (2), and (3) in continuous motion on the perimeter. If the
two big players are being dominated inside by their defenders, the
Five-Player X Motion may be added. The offense with a few simple
adjustments may be run against zone defenses.
 Page 117

Chapter 8
The De Paul Cut Motion Offense
A very popular motion that moves the defense in a functional manner
is the De Paul Cut Motion. It works well versus player-to-player and
zone defenses.
Personnel Alignment
This motion is designed for two shooting guard types (1) and (2), two
forwards (3) and (4) who have adequate size and shooting ability, and
a big post player (5), who can dominate the low post area in terms of
one-on-one scoring and rebounding. The guards should be positioned
as wide as the lane. The ballside forward (3) in Diagram 8-1 is as high
as the free throw line extended and the offside forward (4) is situated
in the offside low post area.
The Basic Motion
Player (3) must be open in the assigned area when the dribbler is
ready to pass. Player (3) can get open by: (A) stacking under (5) as the
ball comes upcourt and popping to the wing at the appropriate time
(Diagrams 8-2), (B) facing the defender X3 and then cutting away to
the wing (Diagram 8-3), (C) moving up the lane and then cutting
directly out to the wing using an L cut (Diagram 8-4), or (D), in cases
of extreme defensive pressure, crossing with (4) to move the defense
(see Diagram 85).
Once the pass to (3) is made, (1) cuts to the offside lay-up slot off a
screen by (4), who moved to the high post area. See Diagram 8-6.
Diagram 8-1

Diagram 8-2
 Page 118
Player (3) may then: (A) Lob to (1). (B) Pass to (5) and split the post
with (4). When this is done, (4) steps out and sets a definite screen for
(3). Player (3) uses the screen to cut into the lane and (4) rolls to the
ball. See Diagram 8-7. (C) Pass to (2) and cut low off (5) after (2)
passes to (1). See Diagram 8-8. Or, (D) pass to (2) and cut high off
(4). See Diagram 8-9.

Diagram 8-3

Diagram 8-4

Diagram 8-5
Basic Motion
Diagram 8-6

Diagram 8-7

Diagram 8-8
 Page 119
Player (1) then has the options of: (A) passing to (3) cutting to the
ballside low post area, (B) lobbing to (4) who moved low off (5)'s
screen (Diagram 8-10), (C) passing to (5) moving to the ballside after
screening for (4) (Diagram 8-11), or (D) resetting the offense. Player
(1) can do this by dribbling out front and then passing to (3), popping
out of (5)'s downscreen. See Diagrams 8-12 and 8-13.

Diagram 8-9

Diagram 8-10

Diagram 8-11
 Diagram 8-12
When resetting the offense, (1) may also pass to (2) and then loop
around (4) to the offside guard position. Player (2) then dribbles to the
ballside and passes to (3) to initiate the motion. See Diagrams 8-14
and 8-15.
From there, the basic options of motion would again be open.
 Page 120

Diagram 8-13

Diagram 8-14

Diagram 8-15
 Diagram 8-16

Pressure Relievers
Initial Entry Pass Denied
Diagram 8-16 shows (1) unable to pass to (3), the forward on that
side. Seeing this, (2) clears down and around (4), who has cut to the
high post. This allows (1) to make a dribble entry on the weakside.
Player (3) then makes the cut off (5) to what is now the ballside. See
Diagram 8-17. Player (5) screens for (4) for the lob option. See
Diagram 8-18.
The end result is that the motion has been run without the guard lob
option. If no shot develops, (1) passes out to (2), and the offense is
reset.
The same play may be run when the weakside guard brings the ball
upcourt. (2) can make a dribble entry and the basic motion is run
excluding the first option. See Diagrams 8-19 through 8-21.
 Page 121

Diagram 8-17

Diagram 8-18

Diagram 8-19
 Diagram 8-20

Diagram 8-21

Dribble Entry
Diagram 8-22
Dribble Entry (Initial Entry Pass Denied)
Diagram 8-22 shows (1) unable to pass to (3), who is being
overplayed. Player (1) dribbles at (3) and clears (3) down and around
the low post player (5) and to the point. Player (2) moves toward the
ball, backdoor cuts off (4)'s screen, and moves to the offside lay-up
area for a possible lob from (1).
If (2) is not open, (1) passes to (3), who reverses the ball to (2), who
has by then moved to the offside wing area. See Diagram 8-23.
 Page 122

Diagram 8-23
Player (1) cuts off (5) to the ballside lay-up area. See Diagram 8-24.
Then (5) screens for (4) for the lob option. See Diagram 8-25. If
nothing develops, (2) passes to (3) and the motion is reset.

Diagram 8-24

Diagram 8-25
Reversal Denied
When it is difficult to reverse the ball, it must be remembered that
three methods may be used to get the ball from wing to wing.
Diagram 8-26 shows the standard method. A wing-to-post-to-wing
relay pass can also be used as shown in Diagram 827. Diagram 8-28
shows a direct ''skip" pass that is made possible because (1)'s defender
X1 is helping in the lane.

Wing-to-Wing Reversal
Diagram 8-26
 Page 123

Diagram 8-27

Diagram 8-28
Point-to-Wing Reversal Pass Denied
When the reversal is denied at the time in the motion that the point-to-
wing pass is thrown, a dribble chase may be used. Diagram 8-29
shows point player (2) unable to pass to wing player (1). (2) dribbles
at (1) and clears (2) to the point.
This tells the offside wing player (3) to cut off (5) and move to the
ballside lay-up area. From there, the motion options are the same as
usual. See Diagrams 8-30 through 8-32.
Diagram 8-29

Diagram 8-30

Diagram 8-31

Diagram 8-32
 Page 124

Auxiliary Plays
Multi-Option Split Play
In Diagram 8-33, (3) is being denied so (1) bounce passes to low post
player (5), who moves toward the pass and catches the ball at the free
throw line "elbow." This tells (3) to backdoor X3, and (1) and (2) to
split off (4).
Player (5) may then shoot, pass to (3) on the backdoor cut, look for (1)
cutting off (4), or pass to (2) for a jump shot.
Dribble Entry Lob Play
This play is keyed when guard (1) dribbles at and clears forward (3) to
the lane, over forward (4), and to the offside lay-up area for a possible
lob pass. See Diagram 8-34.
Player (1) may lob to (3) or reverse the ball to (3) and key subsequent
options. See Diagrams 8-35 and 8-36.

Diagram 8-33
Diagram 8-34

Diagram 8-35

Diagram 8-36
 Page 125
Chicago Option
When initiating the play, (1) may use an old Chicago Bull (NBA)
option. After the pass to (3), (1) moves down and screens for (4), who
delays and then cuts to the high post and receives a pass from (3). See
Diagram 8-37. Player (4), may shoot or pass to (5), who forced a
switch by setting a definite screen on (3)'s defender and forced X5 to
pick up the open cutter. See Diagram 8-38.
This left (5) inside small defender X3 for a possible lob pass. See
Diagram 8-39.
Player (4) may also fake a pass to (3) and force X5 to play ballside
and high. A subsequent pass to (1) creates an angle to be able to pass
to (3) inside X5 for a power lay-up. See Diagram 8-40.

Diagram 8-37

Diagram 8-38
Diagram 8-39

Diagram 8-40
 Page 126

Versus Zone Defenses

Chicago Option
When using the De Paul Cut Motion versus zones, the Chicago option
works best. Diagram 8-41 shows (1) pass to (3), and cut through. This
tells the offside forward to cut to the high post. Player (1)'s cut
changed the offensive front from even to odd. This causes matching
zones to make adjustments. Player (4)'s cut to the high post may result
in a triangle play with (4) at the apex and the base formed by (5) and
(1) inside the zone. See Diagram 8-42.
If (4) is not open, the high post continues the cut to the ballside of the
lane. Player (3) reverses the ball from (2) to (1), who has moved to the
wing area. See Diagram 843.
Player (3) then cuts high off (4) to the free throw line area. If (1) can
pass to (3), (1) may shoot, pass inside to (5), or pass to (4), who has
moved to the offside wing. See Diagram 8-44.

Diagram 8-41
Diagram 8-42

Diagram 8-43

Diagram 8-44
 Page 127
If (1) cannot pass to (3), (3) continues the cut to the ballside low post
area. Player (5) then cuts to the ballside high post area. See Diagram
8-45.
Again, if the pass is made to (5), the options are shoot, pass to (3)
inside, or reverse the ball to (4) on the offside wing. See Diagram 5-
46.
If (1) cannot pass to (5), (1) dribbles out front and returns the offense
to a two-player front. From there the Chicago option zone sequence
may be repeated.
The De Paul Cut Motion is a method of utilizing a big post player, (5),
within the context of movement. It is easy to teach and adaptable to
zone defenses by way of the Chicago option.

Diagram 8-45

Diagram 8-46
 Page 129

Chapter 9
A Disciplined Flex Control Motion
A team choosing to employ a ball-control offense will have many
advantages over the running team. Some of them are:
· Forcing the opposition to spend an inordinate amount of time
playing defense will often cause them to tire in the latter stages of
the game.
· Teams tend to accumulate more fouls when they are on defense.
· At the end of most close games, both teams will resort to a more
controlled style of play and attempt to "set it up." The control team
has more experience at this style of play and should gain an
advantage.
· A wide-open running team's offense is usually initiated by a big
rebounder's outlet pass. The player will make more errors than the
highly skilled guard who keys the plays of a control team.
· The tall people who dominate the game of basketball are not adept
at being defenders in a game of "keep away."
· And, finally, the nature of the game of basketball, and the way the
rules are interpreted favor the team with the ball (within the
boundaries of the shot clock).
The following disciplined control game is predicated on those ideas
and designed around the UCLA Slash Play and the Flex Motion.
Personnel Alignment
Guards (1) and (2) bring the ball upcourt and then (2) cuts to the
strongside forward area. Forwards (3) and (4) assume the guard and
forward positions on the other side. Post player (5) sets up in the high
post on the ballside. See Diagram 9-1.
This alignment is based on the assumption that (1) and (2) are the
team's best ballhandlers.
 Page 130

Diagram 9-1

The Basic Motions

UCLA Slash Delay Motion
In Diagram 9-2, (1) passes to (2), makes a slash cut off (5), and on to
the ballside layup slot, for a possible pass from (2). It must be
remembered that this is a ballcontrol game and (2)'s rule on this pass
is "if in doubt, don't." Make the easy pass.
If (1) does not receive a pass from (2), (1) clears to the ballside corner,
and (5) rolls toward the basket. See Diagram 9-3.

UCLA Slash
Diagram 9-2
 Diagram 9-3
If (5) is not open, (2) dribbles out front and this tells (1) to make a
change of direction and cut to the ballside forward area, and the two
offside players (3) and (4) to exchange positions. Note that after
screening for (4), (3) rolled inside for a possible lob pass from (2). See
Diagram 9-4.
The process is then repeated with (2) passing to (1), making the slash
cut, and then (1) dribbling out front as (4) and (3) exchange. See
Diagrams 9-5 and 9-6.
Note that (5) did not return to the high post until (2) passed (1).
 Page 131

Diagram 9-4

UCLA Slash
Diagram 9-5

Diagram 9-6
Flex Motion
The second phase of this plan is the Flex Motion. The slash cut
repetition tends to lull the defense into a relaxed state. It also sets
them up for the Flex Motion. Diagram 9-7 shows that (1) has cut
through and cleared to the ballside corner.
At that point, (2) dribbles out front and the Flex Motion is keyed by
(2) passing to (4) who has exchanged positions with (3) and moved
out front. See Diagram 9-8.

Diagram 9-7

Diagram 9-8
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This pass tells (1) to cut off (5), who has stepped out to screen for (1).
See Diagram 9-9. If (1) is not open, (2) screens down for (5), who
pops to the offside guard area. See Diagram 9-10.
From there, (4) has two basic options. The player may pass to (5) and
continue the Flex, or pass to (3) and run the slash cut delay game.
In Diagrams 9-11 and 9-12, (4) passes to (5) and keys the Flex
Motion.

Flex Motion
Diagram 9-9

Flex Motion
Diagram 9-10
 Flex Motion
Diagram 9-11

Flex Motion
Diagram 9-12
Slash Cut Delay Game
Diagram 9-13 shows (4) pass to (3) and cut off (1), who moved to the
high post area. Player (3) then dribbles out front. This keys (5) and (2)
to exchange on the offside. See Diagram 9-14. This delay phase teases
and works the defense while setting up a flex option.
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Slash Delay
Diagram 9-13

Diagram 9-14

Pressure Relievers
Most defenses have a tough time with this stalling, teasing offensive
plan. However, two pressure-relieving plays are provided that may be
necessary when facing a particularly strong defense.
Pressure Reliever #1Dribble Entry
When the defender on (2) denies the initial pass from (1), a dribble
entry may be used. In Diagram 9-15, (1) dribbles at (2) and clears
down and around high post player (5). This tells (3) to cut over the
post player (5) for a possible pass from (1), and a lay-up shot. Player
(2) then cuts to the point. See Diagram 9-16.
 Diagram 9-15

Diagram 9-16
If (3) is not open, the player continues across the lane and around (4).
Player (2) arrives at the ballside guard area and receives a pass from
(1). See Diagram 9-17.
From there, either the slash cut delay game (see Diagram 9-18) or the
flex motion may be keyed (see Diagram 9-19).
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Diagram 9-17

Slash Cut
Diagram 9-18

Flex Motion
Diagram 9-19
Pressure Reliever 32UCLA Downscreen
Diagram 9-20 shows that (1) has already made the slash cut (was not
open) and cleared to the ballside corner. However, X2 is overplaying
(2) and will not permit him to dribble out front. When this occurs,
post player (5) steps out from and takes a pass from (2).
Diagram 9-20
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Player (2) then screens for (1), who pops to the wing, and receives a
pass from (5). See Diagram 9-21.
As (1) dribbles out front, (5) returns to the low position, (2) makes a
change of direction, and then fills the forward position, and (3) and (4)
exchange positions. See Diagram 9-22.

Diagram 9-21

Diagram 9-22
Player (1) may then call the Motion Flex with a pass to (4) (see
Diagram 9-23), or the Slash Delay Motion by passing to (2) (see
Diagram 9-24).
 Flex Motion
Diagram 9-23

Slash Cut
Diagram 9-24

Auxiliary Plays
High Post Flex Play
Auxiliary plays may be added when a particular game demands them
or as more offense is needed. Following are two plays that work well
with the Flex Discipline Control Game.
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When a player in the strongside guard position ((1) in Diagram 9-25)
chooses a pass to high post player (5), both forwards (2) and (4)
backdoor their defenders.
If neither (2) nor (4) is open, they cross underneath and receive
downscreens from (1) and (3). See Diagram 9-26.
Player (5) may then pass to either (2) or (4). In Diagram 9-27, (5)
chooses to pass to (2). This tells (3) to swing wide and (1) to
blindscreen for (4).

Diagram 9-25

Diagram 9-26
 Diagram 9-27
Player (4) cuts to the basket off (1)'s screen, looking for a possible
pass from (2). See Diagram 9-28. After (4)'s cut, (5) screens away for
(1), who moves out front. See Diagram 9-29.
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Diagram 9-28

Diagram 9-29
From there, (2) may continue the Flex Motion with a pass to (1) (see
Diagram 9-30), or pass to (3) and key the Slash Delay Game (see
Diagram 9-31).

Flex Motion
Diagram 9-30
 Slash
Diagram 9-31
Backdoor Cross
When the defense is denying all the passes on the ballside, the
Backdoor Cross may be run. In Diagram 9-32, (1) has no one to pass
to, and so dribbles at (3). This tells (3) to fake a backdoor cut, come
back, get the ball from (1), and dribble toward (2).
Player (2) reads this key and backdoors the defender (X2); (4) moves
up and screens for (1). Player (3) may then pass to (2) on the backdoor
cut, or lob to (1) on the offside. See Diagram 9-33.
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Diagram 9-32

Diagram 9-33
If neither (2) nor (1) is open, they cross, with (2) setting a definite
screen on (1)'s defender. Player (4) moves out front. See Diagram 9-
34.

Diagram 9-34
Player (3) may then pass to (1) and run the Slash Cut Delay Game
(see Diagram 9-35), or pass to (4) and initiate the Flex Motion (see
Diagram 9-36).
 Slash
Diagram 9-35

Flex Motion
Diagram 9-36
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Versus Zone Defenses

Zone Adjustments to Basic Motion
When using this offense against zone defenses, certain adjustments
must be made. In Diagram 9-37, (1) passes to (2), slashes off high
post player (5), and cuts to the corner. Post Player (5) then drops down
to form a passing triangle with (1) and (2). Player (3) does not move
to the ballside, but instead stays wide and may be open for a
crosscourt pass from (2) and a shot. See Diagram 9-38.

Diagram 9-37

Diagram 9-38
This triangle is maintained until (2) decides to switch the overload.
The player does this by dribbling at, and then passing to (3). The two
offside players (3) and (4) do not exchange because this maneuver has
little utility versus zone defenses. See Diagram 9-39. The pass from
(2) to (3) tells (1) to cut over the top of (5) and to the high post area.
If (3) can then get the ball to (1), a triangle play is formed with (1) at
the apex and (4) and (5) forming the base. Player (1) may then turn
and shoot or look for (4) or (5) inside the zone for possible lay-ups.
See Diagram 9-40.

Diagram 9-39

Diagram 9-40
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If (3) cannot pass to (1), (4) breaks up to the free throw line extended,
receives a pass from (3), and the slash cut phase is repeated. See
Diagram 9-41.

Diagram 9-41
· Thus the two basic plays of this offense when used against zones
allow a team to:
· Change the front of their offensive perimeter and confuse
adjusting or matching zones.
· Utilize a passing triangle overload.
· Have the threat of a crosscourt pass with high scoring potential.
· Test the middle and corner of the zone. These are very often their
most vulnerable areas.
· Rotate the perimeter of the zone by dribbling.
· Change the overload.
· Quickly reverse the ball to catch the zone overshift.
Dribble Entry Play
When additional zone offense is desired, the Dribble Entry Play may
be used. It starts as guard (1) dribbles at and clears (2) down and
around post player (5). This dribble rotates the front of the zone. See
Diagram 9-42.
Player (3) then cuts over post player (5) to the basket. Against zones,
(3) will very seldom be open on this cut. See Diagram 9-43.
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Dribble Entry Zone

Diagram 9-42

Diagram 9-43
However, as (3) cuts by, (2) steps to the point, receives a pass from (1)
and reverses it to (3), who has looped around (4) and to the wing area.
Player (4) helps (3) get open by pinning the nearest zone player
inside. See Diagram 9-44.
If (2) can get the ball to (3) and (3) does not shoot, it keys the Flex
and tells (1) to cut to the high post and form a triangle with (5) and
(4). See Diagram 9-45.
 Diagram 9-44

Diagram 9-45
If (2) cannot pass to (3), (2) passes to (1) and starts a Slash Cut Option
by cutting off (5) and to the ballside corner.
From there, the passing triangle is maintained until (1) decides to
change it by dribbling out front.
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Diagram 9-46
The Disciplined Flex Control Motion allows a team to control the
tempo of the game. The stalling, teasing nature of the Slash Cut Play
sets up the defense for a probing Flex Cut. Pressure relievers are
provided that offer secondary modes of entry to the two basic plays.
Auxiliary plays may be used to give the offense depth, or to exploit
specific situations. With a few simple adjustments, this offensive plan
may be used against zone defenses. It is an ideal plan for a team
lacking a big player and wishing to play in a disciplined controlled
fashion.