This episode breaks from the usual format — it's almost entirely Dustin, a table full of cards, and a camera, walking through real marking techniques one at a time. Kaiser stayed mostly behind the camera, producing and editing rather than sitting across the table. The result is the most hands-on, show-and-tell episode of the show so far, and the split between how gamblers mark cards and how magicians do runs through nearly every single technique.

BLOCK-OUT AND SCRATCH WORK
The two most common starting points. Block-out work uses matching ink to fill in a small detail on the back design — a petal, part of a pattern — with the cheat or magician assigning values to whichever details get altered. Scratch work goes the other direction, using an X-Acto knife to remove a bit of paint instead of adding ink. Both are simple, both are old, and both come down to training your eyes to see something you'd otherwise scan right past. In gambling specifically, the placement matters: the mark needs to sit somewhere a thumb can spread the deck just slightly to catch it, without ever needing to deal a second.

SHADING AND TINTING
A subtler technique — shading part of a card with a substance that darkens it just enough to tell high cards from low. This is where the gambling and magic approaches really diverge: at a table, you only need to mark the high cards and leave the rest alone, since an unmarked card becomes its own kind of mark. For a magician, that shortcut doesn't work as well — identifying a specific card usually means shading different spots for different values.

A LIGHTING TIP WORTH REMEMBERING
One small piece of advice threaded through the episode: a mark that's clearly visible under one kind of lighting can vanish under another. Fluorescent, halogen, LED, daylight — they all render ink differently, so any mark needs to be tested under the actual conditions it'll be used in, not just under a nice studio light.

WHEN THE FACTORY DOES THE WORK FOR YOU
Some of the most interesting examples in the episode use no added marks at all. Cards that are miscut at the factory — both plain white-border decks and classic Bee-back decks — can have a detectably thicker border on one side. Spread or shuffle them and that inconsistency is enough to track a card through the deck, no ink required. In a shoe game specifically, a small half-moon viewing window can be enough to spot a miscut card as it comes up.
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THE PUNCH
A tactile method: a sharp point pressed through the face of the card to leave a tiny protrusion on the back, felt by the thumb rather than seen. It's a technique suited mostly to home games rather than casinos — pulling it off at a real table requires a dealer actively participating, which is a lot of setup for a move that's ultimately "a lesser move" once it's working, since nobody watching can actually see anything happening at all. Mark both ends of the card, since cards get turned and rotated during play.

​EDGE WORK
Mark the edge of the card instead of the back — a touch of pencil graphite, or even just a fingernail indentation — and you get two things at once: the card's identity and roughly where it sits in the deck. For magicians, the ultimate version of this idea is the Butterfly deck, where every card carries an edge marking. Beveled or spread, the whole deck becomes readable at a glance, letting a performer cut directly to any card a spectator names after a completely genuine shuffle.

DAUB
A paste applied live, often hidden in something as simple as a hollowed cork with an adhesive back, worn under a jacket or palmed at the table. Get the amount wrong in either direction and it fails — too light and it can't be read, too heavy and it's visible from across the room. One classic story from the episode: a team member playing small, unnoticed bets while quietly marking every high card that passed through their hands, then signaling a big player once enough of the shoe was marked. With an Ace showing roughly a 52% starting edge, that's a meaningful advantage built one quiet bet at a time.

ONE-WAY BACKS
One of magic's oldest secrets, and it requires no work on the cards at all — just a back design that isn't quite symmetrical. Turn one card in the deck around, and it's now facing a different direction than all the others, locatable by touch or sight without a single mark ever being added.

INVISIBLE INK
The highest-tech option in the episode — ink genuinely invisible without the right glasses or lenses. Since nobody else at the table can see it under any circumstances, there's no reason to keep it subtle: the mark can be large, bold, and carry the full value and suit. This kind of work rarely shows up in casinos, but has turned up in high-stakes private games.

A QUICK DETOUR: THE DELAND DECK
A historical aside worth knowing: back in 1913, the Deland deck packed 230 marks onto the back of every card. Impressive, and also a useful lesson — that level of density is complete overkill for a magician's purposes. If you're picking up a marked deck to work with, simple beats elaborate.
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READERS AND CODERS
For magicians specifically, marked decks tend to fall into two camps: "readers," where the value is written plainly on the back, and "coders," where a symbol or pattern has to be interpreted. Readers are faster to use; coders are harder to spot as a mark in the first place.

THE STORY THAT CLOSES THE EPISODE
The strongest moment in the episode doesn't involve ink at all. Reviewing old surveillance footage, Dustin describes a team working a face-up, six-deck shoe game — a format that shouldn't be markable at all. Their method: sharpened fingernails, used to press a tiny crease into a card's face while pointing at it and acting thrilled every time an Ace appeared, all while pretending not to understand English. A reader stationed at third base had plenty of time to spot the crease while the card sat in the shoe, and would signal a big player at first base to bet big the moment an Ace was coming. Bold enough that it's a safe bet the team got caught — which is presumably why the casino kept the tape in the first place.


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​
Before there was a podcast, before there was a four-year run of never getting caught, there was one phone call from a mentor named Mr. CC. Dustin had no idea what he was walking into. By the end of that play, he'd learned the move that would define the rest of his career.
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THE CALL
At the time, Dustin was already cheating on his own — dealing a shoe game on the Strip, using an agent who card-counted while Dustin secretly signaled him the dealer's hole card and stacked the deck. Then Mr. CC called and told him to come over. Dustin walked in to find his mentor dealing blackjack with a stranger standing off to the side. Dustin was told to just watch the game and try to catch the move. That stranger — nicknamed Frankenstein — turned out to be the one that showed Mr. CC an entirely new move for the first time. It was the first time Dustin ever saw The Flash.

​BECOMING THE BUFFALO
Frankenstein was the mastermind behind the play, working as a shift boss at an out-of-town casino. But he refused to personally hire Dustin, wanting zero connection between them if anything ever went south. So Dustin had to audition for the casino's manager. The first audition went nowhere. Mr. CC had an explanation why Dustin did not hired. Dustin had shoulder-length hair, a full beard, and weighed 260 pounds, Mr. CC's exact words: you look like a Buffalo. A second audition, another rejection. On the third attempt, with the whole play about to start without him, Dustin leaned on a sympathy pitch — telling the manager he was nearly broke and would work one day a week. It worked. He was hired full-time on the spot.

WALKING INTO THE PIT
Nothing prepared him as he walk onto the casino floor: fourteen people total, across every shift, day, swing and grave. Five cheating dealers. Seven players. Two shift bosses down with it. All of it happening on old-school single-deck games with no discard tray — cards just went back under the deck by hand, a setup already outdated even by 1980s standards. Every dealer was dealing The Flash. Dustin was dealing The Flash and stacking the deck. The team was beating the casino for $15,000 to $20,000 a day.

THE FOUR-CARD CUT
Since the casino didn't use a plastic cut card, players cut the deck by hand — which meant beating the cut required unusual precision. The team's solution: stack the deck with exactly four cards on top of the stack and rely on Mr. CC being one of the only players skilled enough to consistently cut four cards. He never missed. Dustin never missed the stack.

WHEN IT STARTED TO UNRAVEL
The casino performed random polygraph tests on its dealers. One by one, the other cheating dealers failed and were fired — never arrested, just let go. Dustin was never polygraphed, which he suspects came down to one of the shift bosses steering him away from the test entirely. Around the same time, the casino began backing off the team's players all except Mr. CC, protected by the same shift boss. Eventually the operation shrank down to just three people: Dustin, Mr. CC, and one old-timer boss who wanted no details, only instructions — and who happily stationed himself at first base to block The Flash.

THE BREAK ROOM
One night Dustin goes on break. Two men in suits walked in, unusual for a casino where suits were rarely worn. They were gaming control agents, and they accused him of cheating specifically signaling the hole card to Mt. CC. It wasn't what he'd actually been doing. He realized only afterward that the agents were on the table watching the play. They could not detect the moves. Finally the gaming agents left, Dustin was not arrested, not even fired.

THE QUIET ENDING
Mr. CC was also questioned and then he left the casino never to return. Dustin was the last man standing and wanted to quit, but Frankenstein's said: quitting right after a gaming control visit would look far more suspicious than sticking around. So Dustin kept dealing on the square, for almost another month before finally being let go. He moved back to Vegas. He cut his hair, shaved the beard, and dropped ninety pounds. The Buffalo was gone for good.

WHY IT MATTERED
Looking back after four decades, Dustin doesn't talk about the money first. He talks about the move. That first encounter with The Flash and dealing to Mr. CC's. The Flash became the move he and The Kaiser would go on to use relentlessly for years afterward. One phone call and one move that changed the entire direction of his career.

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Watch the podcast about this play
Dustin swore off dice plays after his first one went badly. Then someone said one name, and he changed his mind. That name was Bones — and the story of what happened next is less about a dice play than about what happens when reputation convinces smart people to ignore every warning sign in front of them.
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THE NAME THAT CHANGED HIS MIND
Bones was already in his seventies by the time Dustin met him, but his reputation as a dice mechanic hadn't faded. Two meetings went nowhere — Bones simply didn't take to Dustin. What finally got Dustin onto the team wasn't skill or charm. It was a camcorder. Bones wanted to see his own switch on video, to make sure age hadn't cost him the move. Dustin had one, and knew how to use it. That was what got Dustin on the team.

THE MOVE ITSELF
The play centered on switching in dice that could never roll a seven. A seven only comes from combinations involving an odd number — one, three, or five. Kick in  both dice with nothing but even numbers, and a seven becomes mathematically impossible. The tell, if anyone looked closely enough over time, is exactly that: dice with no odd numbers on them at all. How odd  😊
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A CREW TOO BIG TO TRUST
The team grew into a fourteen-player operation, plus Bones, plus casino staff believed to be down with the play. Several recruits barely knew how to play craps, so Dustin's role expanded again: teaching newcomers enough of the game that they wouldn't stand out under fire. Bones' own grandson became a liability, what a surprise, an entitled idiot.

THE RED FLAGS NOBODY ACTED ON
The warning signs piled up fast. The story about which casino bosses were actually down with the play kept changing — first the whole stick crew was in on it, then that crew quit, then a new crew was simply told by a boss not to turn the dice, with no real explanation why. Shills who'd been told to bet small couldn't resist betting bigger once they saw they couldn't lose. The shills would keep their winnings. And with that much guaranteed money on the table, players started quietly inviting friends onto a team that was already too large — a practice known as backdooring a play. Every one of these should have ended the play. None of them did.

HOW THE SWITCH ACTUALLY WORKED
Offered a handful of dice to choose from, Bones would select two — then, through a ritual that looked like nothing more than a shooter's superstition, switch in a matched pair that could never seven out. The real dice dropped into a bag on the table's rail, flanked by teammates, often a woman whose purse gave the switch cover. After roughly twenty minutes winning, Bones would repeat the same switch — switching the gaff dice out for real ones, and the rest of the rolls were up to luck. The gaff dice left the casino in that same purse, long before anyone thought to search him.

THE NIGHT IT ALMOST HAPPENED
After delay after delay, the play finally had a night. Early arrivals sensed something was wrong before anyone else did and they called Bones. Bones made one call to a contact with ties to Gaming Control. The answer came back fast: the casino floor was full of Gaming Control agents — and the FBI. The team never set foot inside.

THE REASON WHY
The explanation surfaced later. A shift boss connected to the play had already been popped in an unrelated matter months earlier — and had offered authorities something bigger than himself in exchange for leniency: Bones.

THE REAL LESSON
Looking back, Dustin doesn't point to any single mistake. He points to how many mistakes he was willing to overlook simply because of who Bones was. Legendary skill in one area doesn't guarantee good judgment in another — and the harder someone is to question, the more that's exactly the moment worth questioning them.

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People ask me this constantly — on the podcast, at speaking events, in emails from strangers who found one of my books. Four years cheating blackjack in Las Vegas casinos, hundreds of plays, and I walked away clean. Never got popped, not one close call that ended badly. The honest answer it was seven habits I practiced without exception, for four straight years — plus one thing I didn't control at all.

I WASN'T GREEDY
The math of cheating only works if you let it. A big score feels good once. A pattern of big scores draws heat — by pit bosses, by surveillance, by the guy at the next table who mentions it to the wrong person later. I kept plays modest and spread out, except for the computer coolers. Slow, steady money doesn't draw the same attention as one big score.
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 NO EGO
This one's harder than it sounds. Once you get good at something dangerous, there's a real desire to prove it — to anyone that will listen. Ego gets people caught. I never needed anyone to know how good I was. The only person who needed to know was me.

​I LISTENED TO PEOPLE WHO KNEW MORE THAN ME
Everything I knew, I learned from someone who knew more than me. When my mentor showed me a technique, I didn't try to improve it on day one — I did it exactly as taught, for a long time, before I ever changed a thing. A lot of people get caught trying to skip that step. Never outshine the master.

I PRACTICED CONSTANTLY
Every move I did at the table, I'd already done thousands of times in front of a mirror. Flashing, stacking, a false shuffle — none of it works under real fire unless you know it cold, without thinking about it. If you're still thinking about the mechanics while you're doing it under fire, you've already lost.
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I NEVER STOPPED TRYING TO MAKE THE MOVES BETTER
The moves I did towards the end were more deceptive than when I first did them. Even moves that were already working well got small refinements. The moment you decide a move is perfect you stop trying to make it better.

THE CORRECT AGENTS
A cheat is only as good as the people working with him. I'd rather have turned down money than worked with someone I couldn't fully trust or who didn't have the discipline to hold up their end. The Kaiser and I are still telling these stories together decades later for a reason — that kind of trust doesn't happen by accident, and it doesn't happen with just anyone.
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I USED PSYCHOLOGY, NOT JUST SLEIGHT OF HAND
The moves were only part of the play. Reading a pit boss, knowing exactly when a dealer was tired or distracted, understanding what made a floor supervisor relax instead of watch closer — that mattered as much as the moves. Most people who get caught aren't caught by the moves. They're caught because they didn't read the bosses.

I GOT LUCKY
I won't pretend this one isn't real. Some of it was simply the right pit boss looking the wrong way at the right time. No amount of skill or discipline erases the fact that plenty of cheats just as careful as me got caught anyway. I'd rather be honest about that than pretend four years was pure mastery. It wasn't.
In my opinion, the 80s were a great time to cheat the casinos.

NONE OF THIS WORKS ALONE
Any one of these eight factors, by itself, wouldn't have been enough. Skill without discipline gets you caught eventually. Discipline without skill just means you never get anywhere in the first place. And even discipline and skill together still need a little luck to survive four years. That's the real answer — not a secret move, just never letting my guard down on the things I could control, and staying honest about the one thing I couldn't.

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​Every cheat has a move they fell in love with before they fully understood the downside. For Dustin, that move was mucking — the art of secretly switching cards at the blackjack table. Decades later, breaking it down with Kaiser, the real lesson wasn't the sleight of hand. It was the myth.

THE FASCINATION STARTED WITH A BOOK
Long before Dustin ever tried mucking at a table, he read The Expert at the Card Table, then early VHS instructional tapes, picking up scattered pieces of a technique that mostly didn't make sense yet. The breakthrough came from an old-timer who actually taught him real moves — and left him with a warning Dustin never forgot: it's fun to do in front of a mirror, but you shouldn't do it under fire.
​
Watch the mucking episode on the podcast

PRACTICING ON THE PEOPLE WHO THOUGHT THEY WERE READY
To test the moves on real dealers without real risk, Dustin paid his way into a dealing school — not to learn the game, but to sit across from dealers convinced they already knew everything. He mucked against them freely. Not one of them so much as flinched. It confirmed his moves worked. It didn't yet answer the bigger question.

WHY MUCKING IS THE WORST BET IN CHEATING
Unlike flashing or stacking the deck — moves that leave no visible trace even if someone's paying attention — a failed muck is instantly obvious. A dealer or a square seeing three cards where there should be two doesn't need special training to notice; as Dustin puts it, even grandma catches that one. And mucking is normally a solo act, which means the one person closest to the cheat — the dealer, three feet away — is also his single biggest threat, with no partner to help with misdirection.

WHERE A MUCKER SITS
A mucker never plays heads-up against the dealer — with no one else at the table, the dealer has nothing to watch except him. Third base, with at least three players ahead, buys cover and time. And the best distraction of all doesn't require any accomplice: an attractive player at the table who's pulling the dealer's attention somewhere else entirely, or a nervous first-timer the dealer is busy trying to walk through the rules.

THE REALITY THAT KILLS THE WHOLE PLAY
Here's the part that surprises: a mucker can't bet big, because a large bet draws exactly the kind of attention — from the dealer and from the pit — that a mucker can least afford. So the bets stay smaller, the win stay small, and even when the move is clean, there's no guarantee of a winning hand unless it is a blackjack. Switch in a 20, and isn't guaranteed to win.  The dealer could hit out to a 21 or have a 20.
THE VERDICT
Dustin's own answer on whether he ever mucked under fire is a genuine no. It is too risky and the reward is too small. Fun move to do in front of mirror, but not under fire.

Watch The Mucking Episode on the Podcast