The Project Gutenberg eBook of House Operator, by S. M. Tenneshaw.

Rafferty was a gambler of the old school. He didn't believe in any of the fancy electronic gadgets that the casinos went in for these days, didn't much care for the psionic games of chance and other tricky and probably rigged affairs. Give him a good poker game any time, and he would be happy.

He stood in the door of the Ganymede Casino, outlining himself against the gaudy lights flashing within, standing there patiently. Inside, the rich and would-be rich of a dozen planets were enjoying themselves, playing the brightly-lit games and throwing money around in handfuls.

Rafferty waited for some attention. His hand slid to the bulky roll in his pocket—one hundred hundred-credit bills, 10,000 smackers in all. It was all Rafferty had. He was here to triple it, or else.

Tomorrow 30,000 had to be handed over to Lee Walsh. It was the result of the one mistake Rafferty had made.

Walsh was a big-time gambler, with ulcers and high blood pressure and ten million in the bank. Rafferty was straight middle-time, a man who genuinely enjoyed his chancy profession. And Walsh had said, "Why don't you play something I like to play? All the time poker, poker, poker. Why don't you switch to something else."

Walsh seemed to stiffen. "Let's have a little game of planet-faro, Rafferty. Just you and me. I'm tired of all this poker."

"I don't like planet-faro. It's a lousy game. All those flashing lights—it's more like pinball than honest-to-darn gambling."

So they did—and Rafferty had sat by leadenly while Walsh cleaned him out. Thirty thousand shiny credits down the drain, and the debt due tomorrow at noon. You didn't welsh on Walsh, either. It was sort of a slogan.

Rafferty didn't have the thirty thousand. He had two alternatives: he could scrape up the cash somewhere and hand it over, or he could grab an out-system liner and get going toward Aldebaran, and hope to live. He wouldn't—not for long.

Poker was getting to be an unpopular game, and there were two reasons for it. One was the advent of more popular new types of gambling devices; the other reason was that Rafferty was so good it didn't pay to compete against him. He often had trouble getting up a game. People tended to slink away when they heard Rafferty wanted to play poker. He played it hard and he played it mean, and he didn't lose too often.

That was why he had come to the Ganymede Casino. On the big pleasure-moon, anyone could find some sort of game going—and if he couldn't, the house would be glad to provide some competition. Rafferty didn't much like the idea of playing a house operator, but he was confident.

He patted the ten g's and waited. After a couple of minutes an impeccably-dressed man in tails came over to him and smiled courteously.

"My name is Rafferty. I'm looking for a poker game in the house. There one around I can get into?"

The impeccable man frowned slightly. "I don't think so, Mr.—ah—Rafferty. Wouldn't you care to try our Roto, or the planet-faro, or robot roulette? We—"

"I want to play poker," Rafferty said. The chips were down now; he had to stick to his specialty.

Rafferty waited. He waited while the impeccable man cruised around the huge gameroom, murmuring gently to someone here, someone there. In all cases the response was the same: a shrug, a curious glance in Rafferty's direction, a quick and emphatic shake of the head.

No one wanted to play. Usually Rafferty could count on some fool millionaire anxious to try to best the great Rafferty at five-card stud. Not today, though. There were no takers.

"I'm sorry, Mr. Rafferty; I couldn't seem to promote a game. But the planet-faro—"

"Would you object to playing a two-handed game with one of our employees?" the usher asked suddenly. "Naturally he'll be staked by the house, and I think you'll find him fit competition for you."

Rafferty chewed at his lip. He needed the money—and if the house operator was staked by the casino, it might be possible to cart off quite a load.

The usher led him to a small, highly-polished card table in the back, and signalled to a man waiting to one side.

"Pleased to meet you," said the other. His voice was a soft purr; his face, an expressionless mask. Rafferty smiled. He was quick to size up his opponents, and this time he could tell he was up against a good one.

A house girl had come by. She was clad only in a strip of something filmy across her breasts and another round her middle, and she had a trayfull of chips. Rafferty casually handed her the hundred bills and accepted his stack of chips. She also gave him an unopened deck of cards.

Methodically Rafferty broke the seal, spilled the cards out, flipped the jokers to one side, and riffled through the deck. There were fifty-two of them, all right, and they looked good. He started to shuffle.

The first few hands passed quickly. Steel was a quiet, noncommittal player who seemed to have a tremendous reserve of calmness. It wasn't too surprising, thought Rafferty, considering it wasn't his dough at stake. But a shill has professional pride.

The first three deals were in the nature of warmups, and Rafferty emerged from them twenty or thirty credits to the good. He felt the cards moving the right way; luck was with him tonight. He wondered if he could come away with a million. The Casino had no limit.

Fourth hand he decided to experiment with some offensive tactics. Steel dealt; Rafferty scooped up his cards and looked them over. Jack, Four, Eight, Seven, King. Spade, club, spade, heart, diamond. Coolly he fanned the cards out and pushed a hundred credits toward the middle of the table. Steel saw him.

Rafferty scooped the pot in, frowning inwardly. He'd made his bluff—but Steel had been bluffing right along with him. It was only luck that the little man hadn't been holding a Queen.

Rafferty pulled Jack high again on the next deal, took three, came up with nothing and folded. On the next hand both men played it cautiously and Rafferty dropped fifty credits when Steel's pair of kings took his tens.

Next deal, Rafferty again came up with nothing. Inwardly he cursed; the cards weren't coming as well as they had. He decided to bluff again, since the previous attempt hadn't yielded any information about his opponent's tactics.

"Yes," said Rafferty. He was surprised; it was a rank amateur's trick to ask to look at a hand that had been tossed in. Coming from a cool customer like Steel, it didn't make much sense.

But slowly Rafferty began to fathom the way his opponent's mind worked. And slowly, as his genius for the game asserted itself, Rafferty began to win.

By 2100 his pile of chips totalled near fifty thousand. It was enough to pay off Walsh and still come out with a comfortable profit for the evening's work—but Rafferty didn't want to quit. He didn't play the game that way.

He decided to go for a killing. He had Steel figured, now and he could take the house for a fortune.

Nursing three jacks and a pair of fours, he pushed the betting higher and higher. Steel kept right with him.

Without letting expression cross his face, Rafferty pushed a few more credits out. Then a few more. Then a few more. Five thousand credits hung on this deal, now.

He remained totally blank-faced. That was the secret of poker: never to tip off an opponent to anything. Steel was good, but Steel kept giving himself away.

Like now, for instance. Perhaps the shill didn't know it, but his right eyebrow was twitching faintly. So far, every time Steel had bluffed a weak hand, that eyebrow had twitched.

Well, now Rafferty had him. He had a full house; it was going to take a bunch of fancy cards to top it. And Steel was almost certainly bluffing.

Casually Steel lowered his hand. Jack, Queen, Queen, Queen, Queen. That made four Queens.

He kept his composure, but inwardly he was disturbed. By all rights Steel had to be bluffing—but there they were, four queens.

The game progressed. A few curious onlookers had gathered. By playing cautiously, Rafferty started piling up chips again. His winnings mounted to a hundred thousand, hundred fifty. He had Steel figured now for sure.

Rafferty staked five thousand on a straight flush. Steel saw him and added five hundred on top of it.

"I'll go with you," Rafferty said. "Here's another thousand." Straight flush, Queen high. Only three hands could possibly beat him—and one of them was a royal flush. It didn't seem likely. Besides, the lower corner of Steel's mouth was drawn back, as it usually was when he had a fairly good hand and was playing it big.

The chips flew out madly. Rafferty watched the pile grow; neither man would let the cat die. Ten, twelve thousand credits now. Fifteen. In thirty years of poker, Rafferty had never had fifteen thousand credits riding on one hand. But he was sure he had it.

For the first time that night Rafferty's composure left him. "C-Clubs," he stammered.

"Spades," Steel said sweetly, and put down the eight to Queen, inclusive and consecutive.

It just didn't figure, Rafferty thought glumly. He wasn't as annoyed over the wild improbability of two straight flushes the same hand as he was because he had failed to guess Steel's facial reaction properly. He'd been dead wrong.

He got wronger. Steel sat calmly without saying a word except when necessary, and gobbled in the chips. It seemed to Rafferty that Steel was reading his every move.

He was holding two pair, and played it big. Steel stayed right with him, and when the payoff came:

Three fours won. But Steel wouldn't have ridden that far on the trio unless he knew pretty well that Rafferty didn't have much to show. He seemed to know. And as the game progressed, he grew less and less readable himself. It was a strange reversal for Rafferty, who was accustomed to detect his opponent's idiosyncrasies within three deals and to play them mercilessly from then on.

Rafferty looked down at his pile of chips and counted them. Eight hundred credits left. Eight hundred lousy credits.

The gambler in him urged him to go on, to try to win the thirty thousand he needed and clear out. But another part of him told him it was futile; Steel was getting sharper and sharper, and it was inevitable he'd lose even the remaining eight hundred. He didn't want that to happen.

"What's the use?" Rafferty said hollowly. "I can't win. And at least this way I'll be on Aldebaran tomorrow when Walsh and his gunmen come looking for me."

"Never mind." Rafferty turned away, scooping up his remaining chips. He cashed them in and shambled out the door, still unable fully to understand that for the first time in his life he had met his master at the poker table.

After Rafferty was gone, the impeccable usher came over to Steel, who was sitting patiently by the huge pile of chips.

"It looked bad for a while, there. He was better than a hundred thousand ahead of you."

"It took me some time to detect his playing patterns," the house man said. "He was very, very good. He's the best player I've ever encountered."

"Hardly. Once I had penetrated his defenses, he was at my mercy." Steel rose, smiling blandly. "I took 9200 credits from him. It's thirsty work. How about a drink?"

"Sure thing," the impeccable man said. "I guess I can spare a drink for the best house operator this casino has." He took an oilcan from his jacket and inserted it at the back of Steel's neck. The robot grinned happily at the lubrication; his soft photonic eyes beamed.

"I enjoy playing poker," Steel said. "But someday you must enlarge my circuits so I can take part in planet-faro too. It looks like a very interesting game."

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away--you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

• You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”

• You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.

• You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.

• You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

House Operator

By S. M. Tenneshaw