TECHNIQUES OF SILENT KILLING
Master Hei Long
PALADIN I'llISS
Hum in it, < iiioii \i>n
Contents
Introduction
21 Techniques of Silent Killing by Master Hei Long
Copyright O 1989 by Master Hei Long
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Chapter One: Manual Weapons
Chapter Two: The Spike
Chapter Three: The Knife
Chapter Four: The Nunchaku
( (inclusion
1. 1
45
71 97
Introduction
The techniques comprising Ih is work present methods of assassination requiring silence, i lose com.icl, and llie intent to leave the scene without hcinc :i|»pii-lii-ink-tl All llie weapons herein are utilized manually, wiili lull hocly contact— the use of projectile weapons will not In- dis cussed. In all these techniques, the assassin approaches an unsuspecting target and kills him with a single stroke, attracting as little attention as possible in the process.
We show how an assassin attacks walking targets from Die front, from the side, and from the rear. We will also show how he can attack seated targets from side and rear approaches. If you flip through the chapters, you will notice that, with the exception of the techniques in Chapter Four, pitch sequence ends with the assassin leaving the scene of Ihr action while the victim is still falling to the floor. An HNNiissin's job is done when the target has expired.
Il is also an assassin's job to survive so he can continue In uhc his skills when they are needed. This requires that he |»l in, locale his target, and neutralize him without being t»|Miiird. When he has completed his task, the assassin mutt nun and walk away without hesitating. He must look
1
iL
4 2 I TECHNIQUES OF SILENT KILLING
does not go li> a local retailer lo make such a purchase simply because he may be remembered and later identified as having made Ihe buy. From a legal standpoint, this could put a murder weapon in his hand. Due to the simplicity of making a spike, purchasing a substitute constitutes un- reasonable risk.
Figure 1
Figure 1 depicts a suitable spike for assassination pur- poses. Ideally, the spike's shaft should be ten inches long, round, and about as thick as a pencil. (Actually, lor certain
Manual Weapons 5
targets, a pencil with a sharpened tip would be of sufficient length and strength to get the job done, but it would be undependable for others.) The taper of the shaft should be from one and a half to two inches long and free of burrs or niches. The tip of the shaft must be able to pass freely through clothing without catching on material and creating a drag on the thrusting lone Burrs and niches will cause this drag and may rcdim-i the |K-nctration of the weapon, so be sure the shaft and tin- up air smooth.
The handle should In- appniuniatcly lour inches in length, but may be li>ii|;ei ,m unliiip, l<> the size ol the wielder's hand. A lime ''Inlli ship makes the hesl handle. This strip must be securely aiuhuicd l.> tin- shall ,u the initial windings, and should cover the lihml end ul the weapon, as illustrated in Figure 1.
Figure 2
6 21 TECHNIQUES OF SILENT KILLING
Like any other weapon, use of the spike requires proper manual control. The techniques utilizing the spike shown here require two types of grips. Figure 2 shows the first grip, with the weapon protruding from the top of the hand. The four fingers are clamped around the handle and the thumb is pressed against the shaft to stabilize it and prevent it from deviating to the side upon impact. This grip is used for horizontal thrusts and rising thrusts.
Figure 3
Figure 3 shows the second type of grip, with the weapon protruding from the bottom of the hand. Here the thumb is being used to bolster against the backthrust of the weapon when it contacts the target. The grip is applied to certain horizontal strokes and all downward strokes.
It should not be necessary to stress the importance of a firm grip on the weapon. This is made possible by the proper construction of the handle. A sloppily made handle
^ Unmal Weapons <
with loose wrappings will be difficult to control, and thus will make a tight grip difficult to maintain. The length of Ihe user's fingers will determine the circumference of the handle. He should take extra care to properly fit the handle to his hand.
The Knife
Figure 4 shows a fighting kmlc Itolh sides nf (he blade are sharpened, and it is tapered evenly in a |><>ini on both sides. A knife that has a single cutting c<l|;e .md/m a curved tip requires specific angles to make it ctlei live wiilun the focus of this book (silent killing techniques) An exe- cutioner is after full efficiency, and a knife with one siile that is unable to cut is only half a knife.
Figure 4
Good fighting knives are light and, as a rule, have a molded handle (which is generally made of an aluminum alloy) fused to the blade. The blades are made of surgical •Icel, allowing for an extremely sharp point. Blades come In a variety of sizes, but a long blade is preferable. The blade illustrated in Figure 4 would be approximately ten Int lies in length, which is a good-size blade. It would be haul lo miss a target with a knife that size.
21 TECHNIQUES OF SILENT KILLING
Figure 5
Figure 6
Figure 5 depicts a bottom grip, which is used in all downward vertical strokes and some horizontal strokes. Note that the thumb is wrapped around the handle, unlike the grips applied to the spike. A knife of this size requires all the wiclder's strength on the handle to control it, and therefore his thumb should be wrapped around the handle for a secure grip rather than used as a pitch stabilizer. The inside grip shown in Figure 6 is used in all upward strokes,
Miinual Weapons o
mimic parallel strokes (when a thrust is called for), and i piluin horizontal strokes. It should go without saying that a knife that will be used for an assassination should be honed mid stropped to razor sharpness.
The Nunchaku
A great deal of mystique sunouiided the nunchaku when il first became available i<> ilu- Amnican public, but it didn't take long before half the youths m ilu- < ountry were tarrying them around and flashing ilu-m lik. i<.ys I have personally observed ten- and twelve- yeai nlils |m-i toi nuii^. passes and strikes with blinding speed and acrm a. v
At first, the weapon's potentially lethal capalnliiics weren't recognized by the authorities, but many stairs eventually outlawed the weapon. According to a studenl ■ >! mine (a former federal prosecutor), the courts consider nunchaku to be as deadly as firearms. Though the weapon i an be utilized as an efficient bone-crushing tool to immobilize an opponent, here we are going to consider it lor its lethal applications only.
I'igure 7 shows a standard set of nunchaku, but since the weiipon became commercialized, a wide variety is now available. They may be purchased in weights starting at ten iiutires and, when I last looked, as heavy as thirty-two ounces. Overall lengths vary from ten to sixteen inches, and III* binding material between the sticks ranges from a single flylitn strand of four inches to ten inches of link chain. The (VM|M>n can come with studs, grooved );iips, and round or (MIHRonul sticks.
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21 TECHNIQUES OF SILENT KILLING
Manual Weapons
II
i.
Figure 7
A good choice is a 14-inch, 14-ounce nylon-strung weapon with octagon-shaped sticks. Fourteen inches of length and fourteen ounces of weight is sufficient to dismantle vulnerable parts of the human anatomy, and a nylon cord is preferable over a chain because the latter makes a lot of noise. Given the way the nunchaku will be used in this text, the length of the cord joining the two sticks together should not exceed four inches.
The nunchaku can best be used in one way and in one place-in its compression capacity around the victim's neck. The objective is to crush the cervical vertebrae on one side and the trachea and larynx on the other.
Figure 8
Figure 8 shows the weapon clamped around the cir cumference of a victim's neck. The low end of each stick is used as a lever to apply pressure to the front and back side nl the neck, which is trapped at the upper end close to the lord. Figures 9, 10, and 11 illustrate the various grips that will be used in the text (palms facing in, palms down, and nnc up/one down, respectively). Depending on where the iusiissin is in relation to the target, he will use one of these (lips in conjunction with the techniques discussed in ( 'hiipter Four.
Study these grips and experiment with them to get used hi thr Icel of the nunchaku. To give you a good understand- ing nl just how effective this weapon is when used as a lOmprr-ssion instrument against the anatomy of the neck, I Ihf Micks around your own neck and gently press them tihvr. This experiment will also give you an idea of how (h iHi-KMirc to put on your training partner in practice
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21 TECHNIQUES OF SILENT KILLING
I'lKiirr V
Figure ID
Figure 11
Chapter Two
The Spike
To accomplish a silent kill, an assassin musi quickly cause the death of his target without linn Ilivhic ilic opportunity to yell or call for help. Therefore, he muu make an unseen approach, or at least an inconspicuous one II ilic target sees the assassin and is aware of his intentions, he is likely to create a disturbance to attract attention and, Ik- hopes, some help.
An assassin must also deal with the pain factor. In most eases, the impact of the attack will cause traumatic shock, immediately paralyzing the victim and rendering him unconscious. A lethal blow, however, does not always bring death so quickly that the opponent does not at least cry out from the pain inflicted by the stroke. It only takes one gasp of air expelled across the vocal cords to effect a yell loud enough to attract the attention of anyone within imige of the sound.
One of the prime anatomical areas to attack is the suliKlemal notch. A strike to this part of the body will pamlyze the diaphragm, making it impossible for the victim Mi yell Death will be so instantaneous that there will be no
13
14
21 TECHNIQUES OF SILENT KILLING
opportunily to call Im lul|> or yi-ll liiim pain. Tlic other two vital areas we will discuss, the temple and the heart, will brinj; death veiy quickly, but without the guarantee that the victim will not have enough air in his lungs to cry out just beloie he expires. As long as the diaphragm is functional, it can be Hexed, forcing air to pass through the vocal chamber to create sound.
There are two ways to deal with this problem. During an assassination, the executioner can compress the esophagus and larynx so that no air can be expelled through the mouth, or he can cover the mouth so that any sound will be a muffled grunt that will most likely go unnoticed. Four of the seven techniques in this chapter will require the victim's mouth to be held momentarily.
Figure 12
Observe Figures 12 and 13. Typically, when a mouth Ki'iib is required for a technique, it will be in this fashion.
/ In- Spike
15
An ulternate grab will be used in one of the techniques, but tliice there is a special purpose for this, that grab will be discussed with the explanation of that technique. What is Important here is that the fingers form as tight a seal as possible over the entire mouth, pressing hard against the lips. The assassin's grip should leave a bruise over the victim's mouth area.
Figure 13
Technique 1
In I igure 14, the target is seated in a relaxed position- lh# assassin's approach is from directly behind him. The flnl contact with the target comes when the assassin Hruirn his mouth to prevent him from yelling. He raises
16
21 TECHNIQUES OF SILENT KILLING
Figure 14
Tin' Spike
IV
Figure 15
ihc spike as he takes this grip (Figure 15). Because the vKliin's head may interfere with the stroke, the attacker (MMis his head to the side, as shown in Figure 16. This /.v n. h ,i \ri>nrtite movrmrnt-lhe mouth grab and the turn ol iln-
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21 TECHNIQUES OF SILENT KILLING
Figure 16
head arc done simultaneously Willi ;i single hard thrust, he buries the length ol the spike mio ihe victim's heart (Figure 17) by penetrating the lower renter portion of the sternum. (For more detailed mloiniatioii on this and other vulnerable
The Spike
IU
areas of the human anatomy, see Dragons Touch, avail able from Paladin Press.) The heart will arrest on impi. i The assassin may release his mouth as soon as he li.r. completed the thrust.
Figure 17
20
21 TECHNIQUES OF SILENT KILLING
In Figure 18, you will see that the assassin is walking away even before the target has completely fallen. Once he has brought the spike down through the sternum and into the heart, his commitment has been fulfilled. It is now his obligation to avoid capture. He should leave immediately.
Figure 18
The Spike 21
Technique 2
Figure 19
Figure 20
22
21 TECHNIQUES OF SILENT KILLING
Again the assassin is going to go after the heart, and again with the target seated, but this time approaching him from the side (Figure 19). Notice that the spike is being held in such a way that if the target took notice of his exe- cutioner's approach, he would not see a weapon in his hand. The weapon is being held with a bottom grip and his wrist is bent so that the length of the spike lays against the underside of his forearm.
I he Spike 2 1
The final step toward the victim is quick and long, with the right foot stepping behind the chair slightly. The assassin grabs the target's mouth at this time (Figure 20). He turns his head as shown in Figure 21 -this will keep him from bending forward by extending the cervical vertebrae, and it will also keep him from making eye contact with the weapon liiinging the weapon down in an
Figure 21
Figure 22
Figure 23
it
24
21 TECHNIQUES OF SILENT KILLING
I'he Spike
25
arc, the executioner penetrates the victim's sternum and lodges the shaft in his heart (Figure 22). After the thrust is completed, the attacker releases him immediately and walks away (Figure 23). His job is finished.
The anatomical target for this technique is the supra- itemal notch. It is another vulnerable area that offers access to some of the most vital targets of the human body -the trachea and the major blood vessels of the upper heart.
Technique 3
Figure 24
Figure 25
L
26
21 TECHNIQUES OF SILENT KILLING
Figure 26
The assassin approaches a seated target from the rear, as depicted in Figure 24. He covers his mouth and raises the weapon for the strike (Figure 25). He turns the victim's head to the side (Figure 26). As with the last technique, this is done immediately upon contact with the mouth— it is not a two-part movement.
I he Spike
V\ffire 27
At the base of the neck, there is a slight depression at the lop of the sternum where the collarbones come together. This is the suprasternal notch and [he penetration point for (his technique. The spike is to be thrust down into this depression (Figure 27). As always, the attacker makes his way to the door or exit route before the target falls com |ik-lely to the ground (Figure 28).
28
21 TECHNIQUES OF SILENT KILLING
I
the Spike
Figure 2»
^Y
2V
Figure 28
As depicted in Figure 29, the initial penetration is straight up and down. Now observe Figures 30 and 31. This side-to-side movement is executed at impact, tearing the aorta and superior vena cava and expediting the death of the victim.
Figure 30
30
21 TECHNIQUES OF SILENT KILLING
I he Spike
KlKilrr.1l
Technique 4
In this technique, the point of impact is the victim's temple. A strike here will result in penetration of the brain, hemorrhaging, and death.
In Figure 32, the target is shown walking. The assassin's approach is from the rear. Again, |<> prevent the possibility of the target crying out, the altacker grips his mouth while simultaneously drawing the strike-, as shown in Figure 33. He pulls the target's head back inward him and, with a circular horizontal stroke, buries the length of the spike into his temple (Figure 34). He pushes I he body back and out of his path as he walks away (Figure 35). The victim will have expired before he hits the floor.
Figure 32
32 21 TECHNIQUES OF SILENT KILLING
f The Spike
Figure 33
Figure 34
Figure 35
34
21 TECHNIQUES OF SILENT KILLING Technique 5
for the lasi throe techniques in this chapter, the assassin hils whal is probably the best choice of targets on the human anatomy for silent killing, the substernal notch. A thrust into this area will accomplish instant paralysis of the diaphragm, resulting in the inability of the target to cry out in any way. His death will follow instantaneously, as the weapon will penetrate the length of his heart from its bottom side.
Kl|>ure W>
The Spike
35
Figure 36 illustrates the surface location of the substernal notch. When the attacker strikes this area, angle and impact are critical. His thrust must be on an acute angle, as shown in Figures 37 and 38. What he is actually doing with this stroke is piercing the heart without having to pass through the sternum. He avoids the need for a hard thrust to pass through the cartilaginous structure by reaching under it.
KlRiirr 17
Figure 3d
36
21 TECHNIQUES OF SILENT KILLING
I he Spike
37
If the assassin's thrust is so strong, however, thai his fist makes hard contact with (he sternum's surface area, he will force the air in the diaphragm through the victim's mouth, which might enable him to yell. The objective lor a silent kill (via l he paralysis caused by penetrating the diaphragm) will be neutralized because the attacker will have lorced air through the vocal cavity himself. If he does h«i make hard contact with the target's chest, the diaphragm will Ik- para- lyzed on impact and the spike will freely pas-. the heart,
resulting in a silent kill.
Figure 40
Figure 41
In Figure 39, the assassin approaches the target head-on. You will note that the spike is not in his hand at this point- it is in his right rear pocket lusi as he begins to pass his target, he reaches back and diaws tin- wca|x>n from his pocket (Figure 40). Right from Hie diawmg point, he thrusts the weapon into the substernal notch, as ilrpii led m figure 41. The executioner never stops walking Ins motion is continuous through the impact of the ilnusi As the target falls to the ground, he is still walking, nevei having broken his stride (Figure 42).
Figure 39
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21 TECHNIQUES OF SILENT KILLING
Mjiure 42
Technique 6
The next technique is simple and quick. The assassin will not be-. approaching the victim; rather, he will Ik- mining at the assassin. This technique would iimsi appmpi lately be used when Ihe large! has a prcdu lahle luilm <>l walking
llmmeji a ceil.iin area at .1 reil.nn I ■ <>l ilnv II lie usually
passes i U>se In a wall, ihr ulliu kri slmiilil timid against that
wall II lie r>, down llir i rnlri id d wide enrridor, the
aiia< kci si Id uliiwly iiuivr IiiIm iluil Hint i>l I he corridor as
he .ippni.li lies In p. i- 1 i line riiuiipji In inlciccpl him.
The Spike
39
The executioner spots the victim's approach with his peripheral vision (Figure 43). He does not look in the direction from which the victim is approaching, and he does
Figurf 41
not turn toward him until the last possible moment. When the target has reached the proper proximity, he turns to his right with a short step and thrusts the spike into the sub- sternal notch (Figure 44). This is an in-progress thrust; in
40
21 TECHNIQUES OF SILENT KILLING
The Spike
41
other words, once the assassin has begun to move, his pivot, step, and thrust arc all done in one smooth, sequential molion. He should continue walking directly in Ihe door
Figure 44
tlgim 4*
thai he hail |urviuir,lv |ilannril mi ituitu m lit* f nil (I'igure 4S) A |h'imiii iiiiiiwmr ■■( the minnkin't iiilrnliiiiis could be looking ii^ltl til hint wlnlf \w msi Ml** tlilii Ipi Unique and have mi tilrii wluit liiul li,i|i|iriu il uiiill hr lulled Ihe target uvt't and saw Ihr s|nl,r Hi it klnp, nut ul his i lli'sl
Technique 7
In this final sequence, the assassin will be using a mouth grab with a thumb pressure technique to expose the target to a clean stroke.
Figure 46
Figure 47
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21 TECHNIQUES OF SILENT KILLING
The Spike
Figure 48
II,.,.,, I*
Ml,,...-
In Figure 46, tin- laij-.rl is srainl iin,l Mir siRSiissin is approaching limn lie, led sulr N,,h- iluii unlike Technique 2, here I lu- .itl.u kn is |M>siii,Miril sliylilly to Ihr ft tint of the scaled lai>\el Tins is nrirssiiiv lot him In |ierform the initial grip on his inniiili
He lays the four fingers of Ins n^lii h.unl ,ier<>ss the target's mouth and firmly presses Ins lliunih niuk-i Ins chin (Figure 47). This is a sensitive area, so ihe largcl will try to pull away from the pain. As he does, Ihe assassin pushes in the same direction the victim is pulling and draws the weapon (Figure 48). He thrusts the spike into the substernal notch, as depicted in Figure 49. He then releases him and immediately walks away (Figure 50).
46
21 TECHNIQUES OF SII.I-NT KILUNG
also be fatal, but this, loo, is not a guaranteed quick kill. To maintain the stale ol "hie," the body requires respiratory function, neural contact between the brain and the invol- untary muscles, and the flow of blood throughout die body, especially to Ihe brain. Stop the flow of blood lo the brain and Ihe body will cease to receive cerebro neural instruc- tions. The heart will stop functioning and the target will die.
Technique 8
llt,M
I he Knife
Figure 52
Figure 53
In Figure 51, the executionei appmai lie. his l;»>'.iM from the rear. He moves in quickly and, wilh Ins led hand, covers the target's mouth with the standard crip described in Chapter Two (Figure 52). He pulls Ihe target's head to his right shoulder and, with a powerful thrust, buries the blade in his right kidney (Figure 53). This is a very painful strike, so the attacker must be sure that his grip over the victim's mouth is done properly so he cannot cry out He
48
21 TECHNIQUES OF SILENT KILLING
holds the mouth for a count of three, pushes the target out of his way, and continues walking toward his predeter- mined exit (Figure 54).
Figure 54
the Knife
4')
Technique 9
In this sequence, the assassin is going after the kidney again, but rather than catch up to the target from behind, he attacks him while he is passing by.
Figure 55
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21 TECHNIQUES OF SILENT KILLING
Figure 56
Hi;,,,, 1>
In Figure 55, the assassin is standing in .u, men where he knows the target must pass by. The knife is liiililrn behind his back at his waistline. Just as tin- t.ni.n pusses, the attacker reaches in front of linn, , Lini|>ii,|' hit mouth and pulling his head hack He- iIh-ii ilinwi ihr luilp In prepara- tion foi ilu- '.inkr [I i^inr v,i ( 'oiiiiiniiiiii. Hie icii ward pull, lie llinisls Mm- kinlr nil,, llir diinrl's Irll knlnrv. us shown in I ij'.iuv 57. lie Imlils linn in ilns |«)siiion l< >i a count of
The Knife
SI
three, releases the knife and the grip on the victim's mouth, and calmly walks to his exit (Figure 58).
In this and the previous technique, it is mentioned that the target's mouth should be held for a three count. Because of the intense pain inherent with a kidney thrust, too quick a release may allow the target's yell to be heard, so it is im- portant that the assassin maintains his grip until that danger has passed.
Figure 58
52
21 TECHNIQUES OE SILENT KILLING Technique 10
The Knife
Figure 60
54
21 TECHNIQUES OF SILENT KILLING
The Knife
Figure 62
56
21 TECHNIQUES OF SILENT KILLING
The Knife
57
Anatomical targets and locations are changing for this sequence. The target area is the heart, and this hit will be pulled on a staircase.
In Figure 59, the assassin has moved in behind his target and is following him down a staircase. He takes a quick step down to close the gap between them and clamps the victim's mouth while raising his knife (Figure 60). He pulls the target's head back to his led side, pressing it against his left pectoral muscle and shoulder (figure 61). This pulls the victim off balance as well as prevents him from yelling upon impact of the thrust. The .marker slams the point of the blade through the sternum arid into the heart (Figure 62). Remember, he is attempting to peneltalc a strong cartilaginous structure, so he must use maximum force. 1 1c pushes the target off his left side and continues down the staircase, as depicted in Figure 63.
Technique 11
Again the executioner approaches the target from the rear and attacks the heart, but in this sequence the target is seated.
When close enough to his laigri. tin- aliac ker draws his weapon and is ready for a quick gial> on the mouth (Figure 64). When he makes contact, he twists thr victim's head to the side and raises his knife for the ilnuM (Figures 6.S and 66). As with previous techniques, this turn of the head is accomplished with the initial grab -they are not two separate movements. With the target's head tucked against his abdomen, the assassin thrusts the knife through the
58
21 TECHNIQUES OF SILENT KILLING
sternum and into the heart (Figure 67). Without hesitating, he turns away and walks toward his exit point (Figure 68).
Figure 64
I'l^urr ftS
The Knife
59
Figure 66
Klsuif (.7
60
21 TECHNIQUES OF SILENT KILLING
Figure 68
Technique 12
In this sequence, the assassin aii.uls ihc substernal notch, approaching the target from a vi-iy natural direction for this type of attack-coming up a staircase. The technique is simple, quick, and deadly
For this technique, the weapon sli.mUl be sheathed point-up under the assassin's shin (wlmli would not be tucked into his pants), or it can W hidden under a loose-fitting jacket. As he approaches ilu- target, he reaches back and draws the knife. The .ma. kn should leave the weapon hand behind his l>.uk. .is il lie were allowing the target enough ii»nn i<> pass (I iK'iir f>'>). As he passes, the assassin ihiusis ilu kiLilr jii mi upward angle into the subsli-in.il ni'ii li (I ic.""" '"I
The Knife
61
Figure »»
Mum r 711
The executioner should never have to break Ins stride up the stairs. With practice, the movement can be smoothed out to look so natural that even if the target were looking right at the assassin, he couldn't anticipate the attack. As he is falling down the stairs, the assassin should continue walking up the stairs at his normal pace and should not look hack (Figure 71).
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21 TECHNIQUES OF SILENT KILLING
Figure 71
Technique 13
The targel invii Iki llus sri|iiciirc is the suprasternal notch. I In- .ill.ii kci .i|>|im;ii hrs n seated target from his left side.
The Knife
63
Figure 72
Figure 73
In Figure 72, the assassin approaches Ihe vkIiiii wiih llic weapon drawn and hidden in his left hand. The > limp on the victim's mouth is thumb-down this time, but, unlike the thumb-down clamp technique in Chapter Two, il is not necessary to put pressure under the chin. He should simply keep a firm grip over the target's mouth and pull his head back to expose the suprasternal notch (Figure 73). With a powerful downward thrust, the assassin buries the length of
64
21 TECHNIQUES OF SILENT KILLING
the blade into the suprasternal notch, as shown in Figure 74. He releases the mouth grip and walks directly away from the target (Figure 75).
Figure 74
Tt'clini<|in' II
In llns lin.il M-iiiii-nir ..I ( lhi|iifi I'liirr. the assassin all.uk>. iwn vilnl iiiriik ilir ImmiI anil sule ol ilu- neck-with ;i our sln.kr i niiiliiiiiilliMi iiiiivanriil.
The Knife
65
As shown in Figure 76, the assassin approaches a seated target from the rear with his weapon drawn. He brings the knife close to the victim's head as he clasps his hand over his mouth (Figure 77). Rotating the target's head fully to the right, he places the culling edge of the blade against the
V i.
Figure 76
66
21 TECHNIQUES OF SILENT KILLING
left side of his neck (Figure 78). He presses the knife hard against the neck and drags the cutting edge of the blade across the lefl side, front, and right side of ihe neck while rotating the head in the opposite direction, as shown in Figure 79. He releases the victim, drops the knife, and walks toward his predetermined exit (Figure XII).
Flgurr'n
The Knife
67
This technique raises two important points. The first and most important point is that this attack is likely to spray blood in a 180-degree radius for about four feet. Needless to say, the assassin is going to get blood on both his hands (at the very least).
Figure 7H
68
21 TECHNIQUES OF SILENT KILLING
The Knife
69
Second, if you look back at every previous technique in this book, you will notice that the weapon has always been left lodged in Ihc target as the executioner exited the area. This is not Ihc case with this technique, unless he were to
A
Figurr 7">
Figure 80
add a second puncturing stroke. If he does not, then he must not carry the weapon with him -he should drop it as he leaves. Steel leaves a residue on the skin that can be
i
70
21 TECHNIQUES OF SILENT KILLING
identified by forensic techniques. If the assassin were to be captured with the weapon, it would be enough evidence for any court in the world to find him guilty of murder. He must not carry the weapon with him!
Chapter Four
The Nunchaku
Before discussing the ialniK.il .applications of the nunchaku for silent killing, .\ luicl study *>l grips and releases is needed.
A
"iff
Figure 81
Figure 82
71
rr~
72 U TECHNIQUES OF SILENT KILLING.
Observe Figure 81. Notice that the sticks are gripped at the w de ends away from the cord. It is not necessary o hold a stick in each hand in order to wrap it «jnd .an opponent's neck. The sticks can be swung into posmon with an accurate swing and catch. It is every b,t a ast as two-handed techniques and, in certain cases, it is the preferred method to get the weapon into position.
llgMK
,,„. |„||..w,„, I., I. <■ «"» & ",C SlKkS ar°Und a
lar,,l.,-slll.a....."n.r.r„. W.IHhc sucks held parallel to c Door, star, a sw.nB„.R movement with the arm and
73 The Nunchaku
release the outer stick by opening the fingers (Figure 82). Maintain a tight grip on .he other stick by graspmg i m the deep pocket between your thumb and the first knuckle of the into finger. As the outer stick swings around to the other hand, clamp you, lingers firmly around .he end
(Figure 83).
When the stick circles .he target's neck, open the re_ ceiving hand wide and k, i. strike the palm of your hand (Figure 84). When you led .!«• contact, close your hand Sthe stick and .urn v 1— upward,., shown m
Figure 85. This turn
ing ol
will clarify itself when
yo; begin studying the ud-l- »- »»- <"f "' Fot** "moment, we arc concerned with 1k.w ..«• -, „ 1. 1 Note that with this release, the thumb rests ,«, Uu- ...s..U »l
^Noflook at Figure 86. Here the thumb ; is ~j . be outside of the stick, and consequently a dtfferen : re ease will be required. To get to the posrtion depicted in Figure 87 you again must initiate a centrifugal-force motionby w'ing'g your arm in a parallel plane with the floor Open tTe lumb and allow .he outside stick to move with the centrifugal force you - ,,,,<! w,,„ your arm movemen ^ thesamemesquccngyo,,, othc, l,„,,MS ol.old.he nner
Ik. The swinging st,cW w„l ,„ss .,,.,„,, .cundesuk o. your arm on its way around the turn's nc. k , ,,ua _ " Open the receiving hand palm down. When .la si.tk strikes your hand (Figure 89), grasp it firmly. 1 ,gu,c 90 mustLL the final position of the nunchaku arc d the
T^ut 85, one palm faces up and the other down. In Figure 90, both palms are down. Determining which grip to „!L when performing a silent kill technique is a matter of
74
21 TECHNIQUES OF SILENT KILLING
The Nunchaku
75
personal preference and comfort for the assassin. They are each equally effective, and their differences will be pointed out as each grip is used in ilie techniques in this chapter.
Figure S4
Figure 85
Hguif Kft
Figure 87
J
Figure XX
Regardless <>l which release and catch the assassin prefers, he nmsi practice both repeatedly until he can perform them blindfolded at lightning speed. He should practice around a pole or similar object to simulate going around a neck and completing the compression movement.
76
21 TECHNIQUES OF SILENT KILLING
Figure 89
Figure 90
T«-iliiii(|iie 15
The first few techniques are simple ones that do not require a release. As they will demonstrate for themselves, however, they are no less deadly.
Figure 91 shows the assassin approaching his target from the right side using a double palm-in grip on the nunchaku. He leans forward as far as necessary and slips the weapon over the target's head (Figure 92). As soon as the sticks are in line with his neck, the attacker steps back slightly and compresses them together as hard as he can (Pigure 93).
It takes about ten seconds to completely incapacitate a target using the strangling method illustrated in this se- quence. During this time, he may very well go into a traumatic state of fear and attempt to struggle loose. In anticipation of this, the assassin should train himself to hold
i
The Nunchaku
77
his own arms rigid. The position they are in at the moment he applies pressure is Ihe distance at which they should remain until he drops the slicks and leaves the scene.
itB,.
When the no k is compressed with a mini liaku in this fashion, several physiological effects will be evident. I'irst, the victim will not be able to yell. His trachea and esoph- agus will be ni'.lilly compressed, so no air and thus no sound will be able to pass through his mouth. Secondly, the cartilaginous rinj-.s of the trachea will be broken, which will puncture holes m the windpipe and cause irreparable
78
21 TECHNIQUES OF SILENT KILLING
damage. Blood will immediately begin to flow into the lungs and stomach. Blood pressure will soon drop below the life-sustaining level because of the massive hemor- rhaging. In addition, the cervical vertebrae will break. When this happens, the assassin will feel a vibration in the sticks and hear a high-pitched crack followed by multiple deep thuds when the cervical vertebrae separate.
These effects will accompany all compression techniques with the nunchaku. Once full-power compression has been applied, there is no chance of the target surviving.
The Nunchaku
79
Figure 93
I C< IlllilllU' 16
Figure '<.'
This lechni<|in- is also performed witlioul a release, and it utilizes a double |>.ilm down grip during compii-ssion
Figure 94 shows the assassin approaching the largo! from the rear. Note dial the sticks form a 90-degree angle, as further illustrated in Figure 95. The attacker reaches over the target's head and aligns the lead stick to press across the front of his neck ( I 'igure 96).
1
80
21 TECHNIQUES OF SILENT KILLING
The assassin started this technique with one palm facing in (Figures 94 and 95). Figure 97 shows him now using a double palm-down compression technique. To achieve this position, after slipping the sticks over the target's head, the attacker rotates llic stick between his index and middle finger as he is on the way down to the clamping area of the neck. This should be done as he passes the ear. It will be difficult at first, but practice will enable him to perform this movement quickly and smoothly.
T?
Figure 94
Mliiirr 95
.fc
The Nunchuku
81
I ltin c 96
Figure 97
Technique 17
This is probably one of the most unorthodox applications of the mindiakii. I>ni ii winks so well under the right circumstances lli.it ii w .mauls mention
The assassin .ippium lies n sealeil l.ugel (Figure 98) with his hands firmly holding both stieks together, as illustrated in Figure 99. He slips the sticks over the l.ugel's head and locks them up against his neck (Figure 100). Hie attacker then raises his knee and places it on the back ol the victim's neck (Figure 101). Using arm and lower-back power, he should try to P"" •'«= sticks clean through the target's neck until they hit his kneecap. This will not happen, of course,
82
21 TECHNIQUES OF SILENT KILLING
but in this position, he can use his lower back muscles to increase the overall pressure against the target's neck, giving the compression tremendous power.
An assassin should only use this technique when his target is seated. The victim's shoulders have to be blocked against the back of the bench or he might be able to roll to the side (even by accident) and the assassin would lose his grip on his neck.
VF^l
Figure 99
Figure 98
The Nunchakti
N.i
Flgurr 100
Figure 101
Technique 18
This technique will challenge the assassin's skills. We will illustrate an inside release and a double palm-in grip during compression
The executioner is stationary as the target approaches from his right side (l-'i^mv !<>•') As he gets to the point depicted in Figure 103, llir attacker reaches out to the side and initiates the swing to hnnr: tin- slicks around his neck. At the last possible moment. In- extends Ins lell hand to catch the incoming stick (Figure MM) As he catches it, he spreads his stance slightly in preparation for the initial struggle (Figure 105). Turning both palms inward, the
84
21 TECHNIQUES OF SILENT KILLING
1
Figure 102
The Nunchtiki,
85
Htiirp 103
He lire 104
assassin squeezes the nunchaku i< i^t-lhrt wiih lull power (Figure 106), keeping his arms ri^iil n the elbows and shoulders. Ten seconds of full-powei compression will be sufficient to kill the target
86
21 TECHNIQUES OF SILENT KILLING
The Nunchaku
87
Figure 105
Figure 106
Technique 19
In this sequence, the assassin approaches the target from the rear while he is walking. I Ic will use an outside release with a double palm <l..wn • ompicssion technique.
His puvimis |.i.i. iiii- anil experience should help the assassin judge (lie |m.|>n distance between himself and the
target (Figure 107) Ai ihe last moment, he closes the gap while swinging Ihe slick oul and around the victim's neck (Figure 108). Nolo die imsiiion of the stick and the right hand in Figure 10"). Ii is held at the target's right side, while the loose stick is cauglu in ihe left of the target's head. The assassin brings Ins 1 1 1 • 1 1 1 hand across his body to his left shoulder and seis ilu- loose slick across the front of the target's neck (Figme I Hli Mr i lamps down firmly.
Again, the aii.u k, •. si hi .miicipate a brief struggle
(Figure 116). He musi br Mm- io hold ihe arms rigid while
applying lull < (impii v. |».»n
-r-"*'
I l|MM. 1117
The vii Inn may very well in. ike a despeiale allcinpt to get away tin ii lew seconds, bin it will be a hncl struggle. As a rule, be will use one or both hands to try to pull the sticks off Ins no k, as shown in Figure 111. The assassin should expeel Ihis reaction and maintain maximum pressure while keeping his in ins rigid.
mm
21 TECHNIQUES OF SILENT KILLING
Figure 108
Figure 109
The Nundiaku
89
Technique 20
In the previous Mi|iiciH v, the assassin used an outside release and applied > • •inpiession with a double palm-down grip. In this scqiicni c . he iucs an inside release and applies aone-up and one down c i impression technique.
I igniF ii;
Figuic II,' shows the exev ulumci iisin^, llic s;imc approach .is In the previous technique, bul note dial the nunchaku is liring held for an inside release. He closes the gap with ;i i|im k step and swings the weapon out and over
Figure 111
1
90
21 TECHNIQUES OF SILENT KILLING
the target's shoulder toward the opposite side of his body (Figure 113). Catching the stick slightly above shoulder height, the assassin immediately twists his palm upward (Figure 114). As he twists the palm of his receiving hand, he brings il to the right side of his body and clamps the sticks together (I'igure 115). Note that unlike the previous technique, the left palm is facing up.
Figure 113
Figure 114
The Nunchaku
91
i iB.n» in
ii,,.,.
I rchnique 21
In tins I I m ijiiriHC, the assassin approaches his target
from ilu- ii-.u Mr uses an inside release and a palm-up/ palm down i imi|>iriiHioii In hnic|iie.
When die- mini kn lum i Iom-iI the distance between him ami Ins Impel, hr iuInpn llir sinks in preparation for the swine, (I ipiiie 117) As the sin k linvels l<> the opposite side of tlif l.ugel's body, I he ass.isstn rem lies for it by placing his hand in «n intercepting nosilinii II igurc I IK). When the stick stnkes his hand, he closes n nntl turns his palm upward (lieine 1 1')). He then crosses his lell hand to the right side of liis body to complete the movement and clamps the sinks together with the greatest possible force (Figure 120).
92
21 TECHNIQUES OF SILENT KILLING
Figure 117
Again, the assassin should be prepared for a brief struggle (Figure 121). He must keep his arms rigidly extended during this and all compression techniques with the nimrhaku.
The Nunchaku
93
A
Figure I IK
94 2 1 TECHNIQUES OF SILENT KILLING The Nunchaku
<>5
llltui.- 1 1'>
Figure 120
96
21 TECHNIQUES OF SILENT KILLING
I'lUiin in
Conclusion
The techniques in this book have been designed for a single purpose -execution. These arc not self-defense maneuvers. An assassin should not use llicm with any preconceived notion that they will simply slop an aggressor. They are designed to kill, and they will kill and nothing less. If the assassin does not intend u> kill his target, he should use techniques from another text.
,
97