Basketball Quick Hitters: 25 Sets by Action and Formation

Basketball quick hitters are named set plays a coach calls to get a chosen shot for a chosen player, fast. This library holds 25 of them.

They are sorted first by the action you want to run (a catch-and-shoot, a double screen, a ball screen, a post feed) and then tagged by the formation they start from, so you can find a set either way. Every set is drawn step by step with what it gets, the read and the counter. For the bigger picture of systems, actions and sets, start at basketball plays.

Find a Set: By Action and By Formation

Pick the action you want, or open the formation view to see what runs from the look your team already knows. Tap a set to jump to its diagrams. Sets labeled Coach Shep's set come from our own playbooks. The rest are standard sets named by the action they run.

By action

Catch-and-shoot

Best for a shooter

• Wheel 4-out 1-in Coach Shep's set
• 13 1-4 high Coach Shep's set
• Zipper 3-out 2-in
• Hammer 4-out 1-in
• Floppy 1-4 low

Double screen

Best for a shooter

• Low Down 4-out 1-in Coach Shep's set
• Elevator 1-4 high
• Hawk 1-4 high Tom Izzo's set

Stagger and multiple screens

Best for a shooter

• Scissors 5-out Coach Shep's set
• Iverson cut Horns
• Triple stagger Box

Ball screen

Best for a guard who makes plays off the bounce

• Horns pick and roll Horns
• Pistol 4-out 1-in
• Spain pick and roll 4-out 1-in

Isolation

Best for the player who wins one on one

• Elbow isolation 4-out 1-in

Post feed

Best for a big who scores inside

• Cross screen post 4-out 1-in
• Box post entry Box

Layup at the rim

Best for a slasher

• Iso Backdoor 4-out 1-in Coach Shep's set
• One-Four 1-4 high Coach Shep's set
• 40 Box Coach Shep's set
• Chin 4-out 1-in
• UCLA cut and double curl 1-4 high

Handoff

Best for a guard who makes plays off the bounce

• Money 4-out 1-in Coach Shep's set
• Weak-side flash 4-out 1-in
• Chicago 5-out

By formation

4-out 1-in

11 sets

• Wheel catch-and-shoot Coach Shep's set
• Hammer catch-and-shoot
• Low Down double screen Coach Shep's set
• Pistol ball screen
• Spain pick and roll ball screen
• Elbow isolation isolation
• Cross screen post post feed
• Iso Backdoor layup Coach Shep's set
• Chin layup
• Money handoff Coach Shep's set
• Weak-side flash handoff

1-4 high

5 sets

• 13 catch-and-shoot Coach Shep's set
• Elevator double screen
• Hawk double screen Tom Izzo's set
• One-Four layup Coach Shep's set
• UCLA cut and double curl layup

Box

3 sets

• Triple stagger stagger
• Box post entry post feed
• 40 layup Coach Shep's set

Horns

2 sets

• Iverson cut stagger
• Horns pick and roll ball screen

3-out 2-in

1 set

• Zipper catch-and-shoot

1-4 low

1 set

• Floppy catch-and-shoot

5-out

2 sets

• Chicago handoff
• Scissors stagger Coach Shep's set

What Basketball Quick Hitters Are

A quick hitter is a set: a called play with a scripted opening. It sits between a system (a continuity or a motion offense that runs all game) and an action (one screen or one cut). The coach decides who shoots and from where, and the set is built to get that look before the defense sorts it out.

Coaches call one at these moments:

• After a timeout. The defense is set, so the play has to beat a defense that expects something. The full treatment is on after timeout plays.
• Late in the shot clock. A high ball screen call needs time to work. One rule of thumb is never to start one with less than 7 or 8 seconds left.
• To open a half. Some staffs script the first plays of the game. Tom Izzo scripts his first six or seven.
• To feed a matchup. A post call goes in when the other team's post is in foul trouble, or for a deep post-up against a smaller defender after a switch.
• To restart a stale possession. One rule of thumb is to call a set for your best player after three trips with no good look.

Most quick hitters start from a box or a 1-4 high look, open the same way every time, and branch into a few finishes read off the defense. The 1-4 high spreads the floor, gives the point guard a UCLA cut and hides many sets behind one look. It also invites denial on the wings and at the high post, and every player has more calls to learn.

Know the shot you want before you call the set.

Play to Their Strengths

Pick the set by what your players do best, not by what looks good on the whiteboard. Cast the play to a player or a matchup:

• A shooter. Catch-and-shoot, double screen and stagger sets: Wheel, 13, Floppy, Low Down, Elevator, Triple stagger.
• A big who scores inside. Post feeds: Cross screen post, Box post entry, and the cross screen at the end of 40.
• A slasher. Layup sets: Iso Backdoor, One-Four, Chin, UCLA cut and double curl.
• A guard who makes plays off the bounce. Ball screen and handoff sets: Horns pick and roll, Pistol, Spain, Money, Chicago.

The set that fits your best player beats the set that fits somebody else's.

Catch-and-Shoot Sets

Wheel (Coach Shep's set)

Formation: 4-out 1-in, from the Low start. Gets: a shot for your best wing shooter. There are a lot of cuts, and the ball goes to the shooter to start the play.

Wheel, step one. Low start: 1 in the right slot, 2 in the left slot, 3 on the right wing, 4 on the left wing and 5 on the right block. 1 passes to 3, the shooter, and cuts through the lane to the left corner. 2 slides over toward the middle.

Wheel, step two. 3 dribbles across the floor, staying a little flat, and looks for 2 cutting backdoor. 2 goes to the rim and fills the right corner.

Wheel, step three. 4 has cut backdoor and filled the left corner, and 1 has lifted to the left wing and caught 3's pass. 5 sprints up from the right block and sets a flare screen for 3, who flares away from the ball. 1 looks for 3 coming off the flare, for the three or the drive.

The read. 3 stays a little flat on his dribble and looks for 2's backdoor cut. On the dribble at 4, 4 cuts backdoor too. The flare gives 1 an angle on 3 for the three, or 3 can drive and kick.

The counter. The two backdoor cuts are built in. If nothing comes off the flare, the next dribble up puts the team in Chin. See the Princeton offense for the base actions.

13 (Coach Shep's set)

Formation: 1-4 high. Gets: a jumper for 2 coming off a down screen, then a curl or pop for 3.

Set 13, step one. 4 and 5 flash from the blocks to the elbows and 1 passes to 4 at the left elbow. 2 walks his man down the left side and 3 walks down to the right corner.

Set 13, step two. 1 sprints down and screens for 2. 2 comes tight around the screen and up to the left slot, and 4 passes to him for the jumper.

Set 13, step three. 2 looks for his jumper first. 5 screens down for 3, who curls into the lane or pops out to the right wing for the pass.

The read. 2 looks for his jumper on the catch. If it is not there, the second action is already coming: 5's screen for 3, who curls or pops depending on how his defender plays it.

The counter. The second screen, for 3, is the counter. It is already coming when 2 catches.

Zipper

Formation: 3-out 2-in. Gets: a catch at the top of the key for your shooting guard, for a three or a drive. Some teams run it straight off the break as early offense.

Zipper. 1 dribbles to the left wing. 2 steps in from the right wing and cuts hard around 4 on the right block, up to the top of the key, for 1's pass and a three or a drive.

Zipper backdoor counter. 1 dribbles at 2, and 2 cuts backdoor down the lane for the pass. At the same time 5 screens down for 3, who comes up to the left wing.

The read. 2 shoots the three on the catch or puts it on the floor.

The counter. The backdoor. The ball handler dribbles at 2 and 2 cuts behind his man to the rim, with a down screen on the far side to keep that defender busy.

Hammer

Formation: 4-out 1-in, drawn here with only the three players in the action. Gets: a corner three off a baseline drive.

Hammer, step one. 1 drives baseline from the left wing. 4 steps up from the right block and screens X2, the weak-side defender.

Hammer, step two. 2 drifts to the right corner off the screen and 1 throws the baseline pass to him for the corner three.

The read. The ball drives baseline, a teammate screens the weak-side player's defender, and the driver throws to the corner to the player who was screened. It often catches the help side unaware.

The counter. With no screener in place, run the same drive as a baseline drift: drive baseline and hit the corner. Our flare screen page covers the screen side of it.

Floppy

Formation: 1-4 low, the shooter under the rim with screens on both sides. Gets: a catch at the arc for the shooter off a staggered double screen, then a second shooter on the other side.

Floppy. 2 starts under the rim, the one spot this set needs, with 3 and 5 stacked as a staggered double on the right side and 4 alone on the left. 2 cuts around the double to the right wing for 1's pass. Right after, 3 cuts around 4's screen to the left wing.

Floppy counter. Neither shooter is open, so 5 steps up just outside the right elbow and 1 passes to him. As 5 catches, 2 back-cuts to the rim.

The read. In this version 2 always goes around the staggered double, and 3 cuts the opposite way right after him.

The counter. If neither shooter is open, the high pass to 5 just outside the elbow triggers 2's back-cut to the rim. If that is covered, 2 keeps going to the opposite corner and the play flows on.

Every catch-and-shoot set needs a real shooter at the end of it. Run them for the player who makes the shot.

Double Screen Sets

Low Down (Coach Shep's set)

Formation: 4-out 1-in, from the Low start. Gets: a three for 5, your post, popping off a double down screen. It is a counter for a sagging defense.

Low Down, step one. Low start: 1 in the right slot, 2 in the left slot, 3 on the right wing, 4 on the left wing and 5 on the right block. 1 passes to 2 and 2 passes to 4, reversing the ball to the left wing.

Low Down, step two. 2 and 1 come down side by side and set a double down screen. 5 comes up off it to the top of the key and 4 passes to him for the three.

The read. 5 is open when his defender is slow or sags into the lane.

The counter. If there is no shot, keep going into the next action, with 1 and 2 cutting off down screens by 4 and 3. Against defenders who just chase cutters off back screens, the post snaps back to the ball for a score.

Elevator

Formation: 1-4 high. Gets: an open three for your best shooter, running through two screeners who close the gap behind him like elevator doors.

Elevator, step one. 1-4 high: 4 and 5 at the elbows. 1 dribbles to the left wing. 3 makes an Iverson cut over both elbows to the right wing, and 2 cuts in from the right wing to the front of the rim.

Elevator, step two. 2 starts in front of the rim, where his cut ended. He runs hard up the middle between 4 and 5, who step together and close the door behind him. 1 passes to him at the top of the key for the three.

The read. Dribbling the ball the opposite way first holds the shooter's defender in the paint. The screeners have to time the close perfectly, or the defender slips through or the screen is a foul.

The counter. If the defense switches the elevator, the screener whose man switched dives to the block and posts up, because a guard is now guarding him. More on the screen itself is on elevator screen.

Hawk (Tom Izzo's set)

Formation: 1-4 high. Gets: four looks from one entry: the UCLA cutter, the ball handler off a ball screen, and two shooters off the same double screen. Tom Izzo ran it at Michigan State.

Hawk, step one. 1-4 high. 1 passes to 2 on the left wing and makes the UCLA cut off 4's screen at the left elbow, looking for the ball back. 5 drops down from the right elbow and 3 cuts in from the right wing, so the two of them form a double screen on the right side of the lane.

Hawk, step two. 4 ball-screens for 2, who dribbles off it toward the middle for a jump shot. 1 runs under the rim and comes around the double screen by 3 and 5 to the right wing, and 2 can kick the ball out to him.

Hawk, step three. After the ball screen, 4 drops into the lane and comes around the same double screen, and 1 hits him for the shot.

The read. The UCLA cutter looks for the ball back first. Then 2 comes off 4's ball screen to shoot or kick out to 1 coming around the double. Then 4 comes around the double too.

The counter. The sequence is the counter. Each look the defense takes away hands the ball to the next shooter on the same double screen. The UCLA cut is explained on UCLA offense.

Rep the screen as much as the shot.

Stagger and Multiple Screen Sets

Scissors (Coach Shep's set)

Formation: 5-out, the post at the top of the key. Gets: a shot for 2 at the top of the key off a staggered screen, with 3 posting up on the way.

Scissors, step one. 1 in the right slot, 2 in the left slot and 5 between them at the top of the key. 3 is on the right wing and 4 on the left wing. 1 passes to 3, and the two guards scissor-cut off 5 to the blocks.

Scissors, step two. 4 comes up to the top of the key and 3 reverses the ball to him. 1 pops out from the left block to the left wing for 4's pass, and 5 goes to screen for 3.

Scissors, step three. 3 slice-cuts off 5 through the lane to post up on the left block. 5 then screens down for 2 and 4 sets the second screen, and 2 rises off the stagger for a shot at the top of the key.

The read. 3 posts up after his slice cut, and 2 comes off the stagger for the shot at the top of the key.

The counter. If 2 has no shot, he passes to 4 on the wing and 4 looks inside to 5, which starts Low. The set never ends in a dead possession.

Iverson cut

Formation: horns. It also runs from a 1-4 set or any look with both posts at the elbows. Gets: a wing catch for your best shooter cutting over two elbow screens.

Iverson cut. Horns: 4 and 5 at the elbows. 2 cuts from the right wing over both elbow screens to the left wing for 1's pass, while 3 clears along the baseline to the right corner.

Iverson cut counter. 1 passes to 4 at the left elbow instead, and 2 back-cuts to the rim for 4's pass.

The read. On the catch, 2 can shoot, drive, or post up.

The counter. If the pass goes to one of the posts instead, 2 back-cuts to the rim.

Triple stagger

Formation: box. Gets: an open shot for the point guard coming off three screens in a row.

Triple stagger, step one. Box: 2 and 3 on the blocks, 4 and 5 at the elbows. 1 dribbles to the right wing, 5 screens down for 2, and 2 comes up to the top of the key for the pass.

Triple stagger, step two. 5, 3 and 4 set a triple staggered screen. 1 runs from the right wing along the baseline, around all three, to the left wing, and 2 passes to him for the shot.

The read. 1 runs the baseline around all three screens and catches on the far wing for the shot.

The counter. None is drawn in the play. It is a one-look set for the point guard. One rule for box sets is to make them all look identical, so pair it with another box set, like the box post entry below.

Rep the stagger until the timing is automatic.

Ball Screen Sets

Horns pick and roll

Formation: horns, posts at the elbows and shooters in the corners. The spacing pulls the shot blockers away from the rim. Gets: a ball screen with a roll and a high-low behind it.

Horns pick and roll. 4 and 5 at the elbows, 2 and 3 in the corners. 1 dribbles off 5's screen to the right wing. 5 dives to the rim and 4 steps out to the top of the key.

Horns high-low. If 5 is covered on the dive, 1 passes to 4 at the top of the key and 4 throws high-low to 5 posting up.

The read. 1 hits 5 on the dive, or swings to 4 at the top of the key for the high-low to 5 posting up.

The counter. Run it the other way from the same start: 1 uses the screen to the other side, 4 screens for 5, and 5 cuts to the rim. 1 can also drive it himself and kick to the corner. More pick and roll reads are on pick and roll.

Pistol

Formation: 4-out 1-in, as early offense off one sideline, with a post at the top of the arc. Gets: a two-man game between the point guard and a wing, then a ball screen before the defense is set.

Pistol, pass entry. 1 brings the ball up the right side, passes to 2 on the right wing and follows around him to the right corner. On the weak side 4 screens for 3, who goes to the left corner.

Pistol, the ball screen. 5 comes from the top of the key and ball-screens for 2, who turns the corner toward the middle. 5 rolls to the rim, and 4 has lifted to the left wing.

The read. In the dribble version, 1 dribbles at 2 and uses 2's screen while 5 flare-screens for 2. If 2's defender switches and jumps out on 1, the skip pass goes to 2 off the flare for a three. If 1's defender goes under the screen, 1 steps back and shoots.

The counter. When nothing comes, 5 sets the ball screen for whoever has it, as drawn. Some staffs put a forward at the top of the key instead of 5 to create a mismatch.

Spain pick and roll

Formation: 4-out 1-in. Gets: a middle ball screen with a back screen on the roller's defender, a screen the screener.

Spain pick and roll. 5 comes up from the right elbow to ball-screen at the top of the key and 1 dribbles right off it. As 5 rolls, 2 comes down from the left slot to back-screen X5, then pops to the top of the key. 3 and 4 wait in the corners.

Spain counter. X5 hedges out on 1, so 2 skips the back screen and pops to the arc for 1's pass. 5 keeps rolling to the rim.

The read. The ball handler can drive, pull up, hit 5 rolling, hit 2 popping or hit the corner. If 2's defender helps on the roll, 2 is open for three.

The counter. If 5's defender hedges out on the ball, 2 forgets the back screen and pops straight to the arc.

Whatever ball screen set you run, rep the reads from both sides of the floor.

Isolation Sets

Elbow isolation

Formation: 4-out 1-in. Gets: the ball to your post at the high post with the floor cleared, so he can attack the rim one on one. For more ways to isolate a scorer, see isolation plays for star players.

Elbow isolation, step one. 4-out 1-in. 5 flashes from the left slot to the high post and 2 feeds him from the right slot. 2 moves to the right wing, 3 lifts to the left wing and 4 fills the left corner.

Elbow isolation, step two. 5 attacks the rim off the dribble. 4 steps up from the left corner and sets a flare screen on X3, and 3 drifts toward the left corner for 5's kick-out.

The read. 5 attacks the rim first.

The counter. The weak-side flare. As 5 attacks, the corner player screens the shooter's defender, and the shooter drifts to the corner for the kick-out when the help comes.

Give the isolation to the player who wins one on one.

Post Feed Sets

Cross screen post

Formation: 4-out 1-in. Gets: a low post entry for your big off a cross screen, then a shot for the screener.

Cross screen post, step one. 4-out 1-in. 3 runs from the left corner and screens across the lane for 5, who crosses to the left block. 1 throws the post entry from the left slot.

Cross screen post, step two. 1 cuts off 5 to the rim and clears out to the right side. 2 screens down for 3, the cross screener, who comes up to the right slot (screen the screener), and 4 lifts to the right wing.

The read. 5 looks to score on the catch. 1 cuts off him to the rim, and 3 comes off the down screen.

The counter. Screen the screener. After the entry, 2 screens down for 3, the player who set the cross screen.

Box post entry

Formation: box. Gets: a direct post feed to a big who bumps off a down screen to the block. It was built to get the ball inside to a dominant center.

Box post entry, step one. Box: 2 and 3 on the blocks, 4 and 5 at the elbows. 1 dribbles to the right wing and 3 cuts across to the left wing. 5 screens down for 2, and 4 cuts down off 5 to the right block.

Box post entry, step two. 1 throws the post feed to 4 on the right block. 2 comes up off 5's screen to the top of the key, the three-point option if the post is covered.

The read. Throw it inside to 4 on the block.

The counter. The same down screen brings 2 to the top of the key, open for the three.

Run post feeds for the big who finishes, and rep the entry pass.

Layup at the Rim Sets

Iso Backdoor (Coach Shep's set)

Formation: 4-out 1-in, from the same Low start as Wheel. It begins exactly like the wave entry, which is the disguise. Gets: a backdoor layup, a shot off a baseline double, or a one-on-one drive on an empty side.

Iso Backdoor, step one. Low start: 1 in the right slot, 2 in the left slot, 3 on the left wing, 4 on the right wing and 5 on the right block. 2 is waved through to the right corner, 5 flashes to the left elbow and 3 goes to the left corner.

Iso Backdoor, step two. 1 passes to 5 at the left elbow and fakes a screen for 4, who cuts backdoor across the lane to the left block.

Iso Backdoor, step three. As soon as 4 stops on the left block, 2 sprints along the baseline, off a double screen set by 4 and 3, to the left wing. 5 hits 2 first, then 1 cutting backdoor from the right wing, or passes to 1 for a one-on-one drive on the empty side.

The read. 5 has three options in order: 2 off the double screen, 1 cutting backdoor, then 1 catching and driving one on one because his side of the floor is empty.

The counter. The options are the counters, and 5 reads them in order.

One-Four (Coach Shep's set)

Formation: 1-4 high, both posts flashing from the blocks to the elbows. Gets: a backdoor layup, then a pick and roll with a double screen on the weak side.

One-Four, step one. 4 and 5 flash from the blocks to the elbows, and 1 passes to 5 at the right elbow. 2 is on the left wing and 3 on the right wing.

One-Four, step two. 3 cuts backdoor to the rim and on to the left block, and 5 looks for him for the layup. 1 fills 3's spot and 5 passes to him.

One-Four, step three. 5 ball-screens for 1 and rolls. On the left side 2 and 4 set a double screen, and 3 comes off it to the left wing. 1 looks to score, then to 5, then to 3.

The read. 5 looks to 3 on the backdoor first. After the swing, 1 looks to score off the ball screen, then 5 rolling, then 3 off the double.

The counter. The pick and roll and the double screen run at the same time. The sets in our 1-4 series share one look, 4 and 5 at the elbows, so the defense cannot tell them apart.

40 (Coach Shep's set)

Formation: box. Gets: a lob to the guard off a back screen, then a post feed off a cross screen.

Set 40, step one. Box: 2 and 3 on the blocks, 4 and 5 at the elbows. 1 dribbles toward the left side, 4 screens down for 2, and 1 passes to 2 on the left wing, and 3 lifts to the right wing.

Set 40, step two. 5 comes from the right elbow and back-screens for 1, who cuts to the rim. 2 looks for the lob to 1, who keeps going to the right short corner.

Set 40, step three. 2 swings the ball back to 5 up top. 1 pops out to the right wing, and 3 screens across for 4, who cuts under the rim to the right block for the post feed.

The read. 2 looks for the lob to 1 off 5's back screen.

The counter. If the lob is covered, reverse it: 2 to 5 at the top of the key, 1 pops to the wing, and 3's cross screen gets 4 to the ball-side block.

Chin

Formation: 4-out 1-in. Chin can be run as a read the team makes on its own, with no call from the bench. Gets: a layup off a back screen, or a shot off a flare.

Chin, step one. 1 dribbles toward 3 on the right wing and hands off. On the left side 2 and 4 exchange, and 5 steps up from the right block to the right elbow.

Chin, step two. 3 passes to 4 and 4 passes to 2. 5 back-screens for 3, who cuts to the rim for the layup and on to the left corner, then 5 turns and sets a flare screen for 4. 2 looks for 3 first, then 4 off the flare.

Chin counter. X2 denies 2 on the left wing, so 4 dribbles at 2 and 2 cuts backdoor for the pass.

The read. 3 does not cut off 5 until the ball leaves 4. 2 looks for 3 on the layup first, then 4 off the flare. The full series is on Princeton Chin series.

The counter. If 2 is denied on the wing, 4 dribbles at him and 2 goes backdoor.

UCLA cut and double curl

Formation: 1-4 high. Gets: two layup looks for guards cutting to the rim, then a wing pick and roll. Both posts start high, so the lane is empty and the roller meets a guard, not a post, at the rim.

UCLA cut and double curl, step one. 1-4 high. 1 passes to 3 on the right wing and makes the UCLA cut off 5's screen, looking for the layup. If it is not there, 1 clears to the left corner.

UCLA cut and double curl, step two. 2 curls off 4 and 5 toward the rim, looking for the layup, and clears to the right corner if the pass is not there. 4 pops out to the top of the key.

UCLA cut and double curl, step three. 5 steps out to ball-screen for 3, who drives hard at the rim. 5 rolls, and 1 and 2 wait in the corners.

The read. A cutter who is open shows a target hand and calls for the ball. The passer throws only to a called target.

The counter. If neither cutter gets it, the wing pick and roll is the finish, and both cutters have cleared to the corners to space it.

Layup sets punish a defense that overplays. Answer every overplay with a backdoor, and never throw a pass that is not there.

Handoff Sets

Money (Coach Shep's set)

Formation: 4-out 1-in, the post at the elbow. Gets: a scoring drive off a dribble hand-off, with a post and a curling shooter as the outlets.

Money, step one. 1 dribbles at 2 for a dribble hand-off and 2 comes up from the right corner to take it. 5 sprints from the right elbow to the right block.

Money, step two. 2 comes off the hand-off looking to score and dribbles toward the free-throw line. 5 circles under the rim to the left side, and 4 screens down for 3.

Money, step three. 2 has the ball at the free-throw line. He looks for his shot, then 5 on the left block, then 3 curling over the top of him for the shot.

The read. 2 looks for his own shot, then 5 inside, then 3 curling over the top.

The counter. The curl. 3 coming over the top of 2 off the down screen is the last look.

Weak-side flash

Formation: 4-out 1-in. Gets: an answer when the pass to the slot is denied: a hand-off and drive, then a flex cut.

Weak-side flash, step one. X4 overplays 4 in the left slot, so 1 cannot pass to him. 2 leaves the left wing for the left elbow and catches 1's pass. 4 runs his man off 2 and takes a hand-off going to the rim.

Weak-side flash, step two. No hand-off, so 4 has spaced to the left corner. 5 screens on the right block, 3 runs under the screen to the rim and 2 hits him there.

The read. 2 looks for 4 on the hand-off first, then 3 on the flex cut, over or under the screen. If the defense switches the flex, 5 seals and ducks in. A shooting 5 pops out instead.

The counter. With nothing open, the ball goes back to 1 and 2 clears to the right wing. 5 back-screens for 1, and the team is in Chin.

Chicago

Formation: 5-out. Gets: a pin-down straight into a dribble hand-off for a shooter.

Chicago, step one. 5-out, with 4 in the left corner. 2 pins down for him, and 4 comes up to the left wing as 1 dribbles over for the hand-off.

Chicago, step two. 4 comes off the hand-off and drives the middle, or shoots off the catch. 2 has filled the left corner.

The read. 4 can shoot off the hand-off or turn the corner and drive the middle.

The counter. If 4's defender jumps the pin-down, 4 rejects the screen and back-cuts to the rim for 1's pass. Chicago pairs with 5-out motion.

Rep the hand-off exchange until it is automatic.

Counters: The Next Call in the Series

Every quick hitter needs a counter. One staff checklist builds every man and zone hitter around three options. The best sets carry the counter inside the same call:

• Make the counter the next call. Build a base set plus the counters for how the defense adjusts to it, all from one look.
• Call it again. Call every counter as the same play plus "again", so the defense expects the first set while you run the counter.
• Answer overplay with a backdoor. Against pressure, cut backdoor. Against a sagging defense, screen down.
• Slip the switch. When a screen is switched, the screener slips. When a smaller defender switches onto the screener, he seals.
• End inside the base offense. When the set is over, the players are back in spots they know, like Scissors flowing into Low and the weak-side flash into Chin.

If a set works, some coaches keep calling it until the defense stops it.

Draw the counter before the season, not in the timeout.

How to Install and Practice Quick Hitters

Teach one option first and get the players to run it before you give them a choice. Then add the reads one at a time.

• Three steps. Half speed against a defense, then against a dummy offense look, then full speed. Too much dummy work builds habits that do not hold up in a game.
• Small groups. Rehearse box sets in groups of three players before you put all five together.
• Let them call it. In a 5-on-5-on-5 drill of six possessions, the coach calls the first four and the players call the last two.
• Shout the call. The point guard shouts a live call before half court and the team shouts it back.
• Script it. Rehearse the game script in practice: the sets after the tip, the sets after subs, and the point guard telling a sub what is next.

Drills for each step are on drills to teach quick hitters, and the call system (hand signals, call words and cards) is on play calling and signals.

How many to carry

Coaches split on menu size:

• Few and trusted. Some coaches run one core special at every stop, and keep last-second plays few and well drilled.
• Many and countered. Others carry a large catalog so opponents cannot prepare for all of it. A typical NBA team carries more than 150 sets with counters.

Either way, run nothing in a game you have not run in practice.

Zone, out of bounds and after timeouts

Against a zone, quick hitters run on the same engine but attack gaps instead of matchups. Those sets are on zone offense quick hitters. Out of bounds sets are organized by formation, and live on baseline out of bounds plays and sideline out of bounds plays. A Quick Hitters Playbook is coming to OBP Pro.

Back to Basketball Plays and every Offense page.

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