totse.com | How To Become An Assassin

NOTICE: TO ALL CONCERNED Certain text files and messages contained on this site deal with activities and devices which would be in violation of various Federal, State, and local laws if actually carried out or constructed. The webmasters of this site do not advocate the breaking of any law. Our text files and message bases are for informational purposes only. We recommend that you contact your local law enforcement officials before undertaking any project based upon any information obtained from this or any other web site. We do not guarantee that any of the information contained on this system is correct, workable, or factual. We are not responsible for, nor do we assume any liability for, damages resulting from the use of any information on this site.

"Knowledge is no longer power, Knowledge is survival" -The Propagation 1999 CONTENTS

Introduction
Psychology
Multiple ID's and personalities
Concealment
Hand to hand combat
Basic martial arts
Commando Fighting Techniques
Gun use
Special ammo
Basic weapons skills
Sentry removal
Attacking from ambush
Capture in passing
Lying methodology
Lie detector tests
The art of escaping
Explosives technics
Poisons
Communications
Inteligence gathering
Phone taps
Survival kits
Movement
Tracking
Advancing towards the enemy
Navigation
Reading the signs
Hot wiring
Slight of hand
Security systems
Lock picking
Hiding youself
Carding
Tips
Physical training regime

APPENDIX I: Chemical equivelency lists
APPENDIX II: Closing statement
APPENDIX III: Thanx and dedications
APPENDIX IV: Apoligies
APPENDIX V:About the author
APPENDIX VI:Further research
References
Disclaimer

This file is being produced to help the members of the underground in their search for knowledge and an equal world of eqaul opportunities. The material in this manual is to help those previosly stated move without being noticed, escape capture, and many other aspects that will aid in their work. This manual is by no means able to replace proper teaching. Joining a martial arts club is a very good way to produce the many skills needed in successful hand to hand combat. I, personally, suggest trying jujitsu, aikido and other close combat martial arts. To become digilent in the coming methods, constant practice is neccessary. It is not enough to simply read over the text as there is no better way to learn than to get out there and practice it. Practice should be carried out whenever possible. If you're out with friends, practice dissapearing from infornt of them. It is possible.

To become an assassin, you must be a hunter. You must know the patterns and routines of your prey so that you may strike when they are most vunerable. To be an assassin, you must learn the way of the wizard, so you may stop the world and see with the eyes of God. The assassin must live in the shadows, have no true identity and exist in the common world on a deeper level. It is the assassin of great power who can control their enviroment, become one with their surroundings and remain unseen in full view of the enemy.

Using a psychological approach, the assassin can perfom more terrorising results in the intended victim. It is true to say that to live in fear is to be more terrorising than to die. One way of doing this is to leave subtle threats. These should be placed in such a place that the victim will see them and also they must be in a position where they will have the greatest effect. For example, In the still of the night, gain access to the victims residence and smear a subtle phrase across the wall at the end of the bed. This will not only cause the victim to notice it as they wake up, but they will then also have the knowledge that you can get to them easily without them even noticing, therefore, they will be living in constant fear. However, after a time this fear will wear off as the victim starts to think that it was just a threat and nothing will come of it. So, in order to prevent this from happening, the assassin must constantly reinforce the messages and after a while carryout a small fear inducing act. For example, a third message could be to inform them that there MAY be something in their car. A while later, after they would have check the car out, position a small explosive charge under, say, the seat being wired up to the ignition. For best fear inducing effects, place a beeping device in the circuit with a delay before the charge. This will catch the victim off guard as they think that, after checking the car out, the threat had no base. But on hearing the beeping device they will fear that there was truth behind it and prepare for the enivitable. The assassin should place a small note near the charge, not to close to be damaged, that reads something like - "Next time I'll blow your legs off". This needs to be easily readable when the charge is inspected by the authorities.

Another way to create fear in the subject is, by intelligence gathering, send a subtle note that plays on the safety of a loved one. This works best when the victims loved one is planning on going someplace and not informing the subject. For example, a son or daughter going to a party or gathering and informing the victim that they are infact going to a friends house. When the subject rings to ease their mind, the loved one will not actually be at that place and the victim will come to fear for the safety of this loved one.

If the fear inducing technique is sufficient the subject may have a loss of will to live as they are constantly living in terror. Thus, the assassin will generate the desired effect without actually having direct responsibility for the subjects death.

Alternatively, fear can be induce by use for charms, curses and jinxes. Firstly, you must let the subject think that you are capable of cursing them. This can be done by staging an event, or giving them an account of a previous incident and telling them that you played a part in it. This will then make them believe that you can achieve what you say. Next you need to provide a basis for your curse or jinx. This can be in the form of a small icon or a 'special powder' that can be made from calk dust, flour, etc. After this you must convince your subject that the icon or 'special powder' is actually cursed. This can be done by giving them false accounts of previous owners lives or acient manuscripts fortelling the fate of those subjected to the icon,etc. If you then subject the victim to the icon, powder or whatever, the subject will do the rest themselves. This is because they now believe in what you have subjected them to. Their day may just continue as normal, but because they believe they are under a cures or jinx, they will only remember the bad parts of their day, and as each day passes, the effects will become stronger. If an extremly bad thing happens, like a car crash, knifing, then all the better. As this will add to your reputation and will cause those who had doubts about your ability before to fear you and, therefore, increasing their suggestability for future purposes.

Produce doubt in other peoples minds. This will lead to your winning. eg. if someone has an item you need - make them believe you have the 'real' item and the one they have is useless (ie. disk). As soon as they begin to doubt the authenticy of that which they have you will be able to finish them off, and retrieve the 'disk' when they discard it.

The assassin must be able to transfrom themselves into many different characters, therefore, existing without a true identity. To begin in a new form of identity, the assassin must first aquire a fake identity card. This can be done by:

The first thing is to find out who exactly you'll become. The most secure way is to use someone's ID who doesn't use it themselves. The people who fit this the best are the deceased. Now you must go to the library and look through old death notices. You have to find someone who was born about the same time as you were. Also, it is best to choose someone that has the same first name as you, at least. This is so that you will react naturally if you are called. It is also wise to get the same first letter of the deceased persons to match your own. This is so that if you have to sign for anything then your signiture will flow naturally. You should go back as far as you can for the death because most states now cross index deaths to births so people can't do this in the future. Go down to the library and look up all the death notices you can, if it's on microfilm so much the better. You might have to go through months of death notices though, but the results are well worth it. You gotta get someone who died locally in most instances: the death certificate is filed only in the county of death. Now you must go down to the county courthouse in the county where they died and get the death certificate, this may cost you a small amount. Look at this paper, it could be your the only way to suddenly dissapear when the right time comes.

Now check the place of birth on the death certificate, if it's in the same place that you are then you are ready to go. If not, you can mail away for one from that county but it might take a while, the librarian at the desk has listings of where to write for this stuff and exactly how much it costs. Get the Birth cirtificate, its worth the extra money to get it certified because thats the only way some people will accept it for ID. When your aquiring these documents the forms ask for the reason you want it, put in the word "Geneology". If the Death certificate looks good, wait a day or so before getting the certified birth certificate in case they recognize someone wanting it for a deceased person.

After this, access your PC and wire it up to the printer and print out some mailing labels addressed to you at some false address. Take the time to check that this address is real. Hotels that rent by the month or large apartment buildings are good, be sure to get the right zip code for the area. These are things that the authorities might notice that will trip you up. Take some junk mail and place your new lables on them. Now take them along with the birth certificate down to the library. Get a new library card. If they ask you if you had one before say that you really aren't sure because your family moved around alot when you were a kid. Most libraries will allow you to use letters as a form of ID when you get your card. If they want more tell them that you have mislaid your wallet Your should get your card straight away or you may have to wait a short while. Most libraries ask for two forms of ID, one can be your new Birth Certificate, and they should allow letters addressed to you as a second form. Now you got a start, it isn't perfect yet, so let's continue. You should have two forms of ID now. Throw away the old letters, or better yet stuff them inside the wallet you intend to use with this stuff. Go to the county courthouse and show them the new ID and get a state ID card. Now you will have a picture ID. This will take about two weeks.

You can also apply for a 'new' national insurance card claiming that you had lost your original. In the uk you must be over 16 years of age to recieve a NI card.

You should also get on your PC type out some intials for like a sport or university for example, add some colour and skew it diagnoly. Then, using this as the background for your 'picture', put add on the details as below:

You can also add on the instructors signiture if its a club and an expiration date. Print this out on some thin card and get it laminated.

You can now go and get a new bank account and apply for a new passport. When applying for the new passport you must intercept the mail for the address that is on the id. Alternatively you can organise a drop of point using an abandoned building saying that you have just moved.

When you send away photographs that will be put into new id's such as the passport. Use a different look. Dye your hair and cover up or give yourself distinguishing features. Be sure to replace or cover them back up when you are using the id's. Make a number of false identities so that you may never need to use your own identity.

CONCEALMENT People are seen for a number of reasons, remembering these vital words that will help you to stay covered from the enemy at all times;

SHAPE- Lose your shape, break up the bodies outline and blend in with the surroundings

SHADOW- Move behind lights when possible. If not move in the shadows, the human shadow is easily distinguished.

SILHOUETTE- The human shape is familiar and stands out. Keep low from sky lines.

Inpo, the art of hiding, is an integral part of the Ninjitsu system. It simply means that one must take advantage of every possible object, natural as well as man made, to conceal oneself. Inpo gave rise to the legends that the ancient ninja could vanish at will..

Foremost among the precepts of inpo is the admonition to avoid unnecessary movement. Following are the five preferred inpo methods:

The best example of this technique is supplied by Uzura gakure no-jitsu, which suggests hiding like a quail in small gaps between two larger objects. The primary consideration here is that one must be able to completely fill the space between the objects. In this way, one may escape detection, since an observer will scan past these as he walks. Of note also is the technique of hiding under overhanging brush or grass. Stay low to observe and look around the cover.

This refers to hiding like a racoon. It means that one should climb a tree or other high place and press oneself against the object so that one seems to be a part of it. The infamous jewel thieves, Alan Kuhn and Jack Murphy- who stole the Star of India from a New York museum- made frequent use of this tactic. They believed, and rightly so, that people seldom look up.

This means to imitate the actions of the fox by concealing oneself in water. Not only does this aid in erasing one's trail, but also allows only poor footing for the pursuing enemy. This method is also extremely useful when one can spring on an enemy out of the water for the purpose of drowning him.

This is perhaps the most difficult of the inpo arts. It refers to the erasing of sound and shadow. Always move behind a light source to avoid casting a shadow or silhouette which might betray you. Learn to move silently. Only practice in the nine steps can develop this skill.

Pu Neng Mu is the term used to mean "invisibility in plain sight". When no cover is at hand one must hide behind nothing. This is accomplished by distorting the silhouette. It is possible to form the body into many shapes by means of yogic exercises. In the old days of ninjitsu, one excellent tactic involved replacing a scare crow and standing in the center of a ploughed field. By kneeling and wrapping the arms around the knees, one assumes a position like a stone or bush.

Numerous other methods exist for concealing one's presence from the enemy, such as disguises, mingling with crowds, false identities, and so on. These alternatives lie in the realm of strategically, rather than tactical considerations.

Conceal items within common items when ever possible. ie. poison filled syringe in a pen.

1. ABOVE- A position above the enemy is the first of these, as mentioned people rarely look up. One may use this propensity to his advantage. Roof tops are a good place of concealment as by laying flat observations can be made, However, avoid silhouetting.

2. BELOW- One can also hide below the enemy when hiding or observing. Look for crawl spaces, air ducts or cellars. Remember to replace any grates or trap doors that may have been in your way. Beware of being trapped, NEVER move into a space with only one exit.

3. BESIDE- Beside cover is a third method which may be used. Regardless of the object, keep as low as possible at all times. Use shadows when ever possible- conceal yourself within it and assume the same shape.

4. BEHIND- Hiding behind cover is another technique. In selecting this approach, bear in mind that you must assume the same shape as the object. Shrubs, hedges, crates, stacked material, and so on, may be used for this purpose.

5. INSIDE- Hiding inside is another method of concealment. The trick is to choose places where a person is not expected to fit. One must possess great flexibility and the ability to remain uttery still. Remember to beware of becoming trapped.

6. INFRONT- Infront of cover is the boldest and most difficult of all these concealment methods. To accomplish this, one must select the object of concealment, position himself directly before it, and assume its shape. Lower the torso and look directly ahead without fixing the eyes on any one point. Relax the body.

In all of these concealment methods, the primary consideration is no movement. It is of utmost importance in hiding in plain view. This technique was a favourite of the ancient ninja, who would position themselves so, along a path travelled by the enemy, stepping forward to attack him as he passed. DO NOT look directly at the enemy as this will cause him to sense your presence.

When engaged in hand-to-hand combat, your life is always at stake. There is only one purpose in combat, and that is to kill your enemy. Never face an enemy with the idea of knocking him out. The chances are extremely good that he will kill YOU instead. When a weapon is not available, one must resort to the full use of his natural weapons. In a combat situation, do not always aim for the head area. there are many body points that can be damaged effectivley including fatal shots.

Attacking is a primary factor. A fight was never won by defensive action. Attack with all of your strength.

At any point or any situation, some vulnerable point on your enemies body will be open for attack. Do this while screaming as screaming has two purposes.

2. To allow you to take a deep breath which, in turn, will put more oxygen in your blood stream. Your balance and balance of your enemy are two inportant factors; since, if you succeed in making your enemy lose his balance, the chances are nine to one that you can kill him in your next move. The best over-all stance is where your feet are spread about shoulders width apart, with your right foot about a foot ahead of the left. Both arms should be bent at the elbows parallel to each other. Stand on the balls of your feet and bend your waist slightly. Kinda of like a boxer's crouch. Employing a sudden movement or a scream or yell can throw your enemy off-balance. There are many vulnerable points of the body. We will cover them now:

The following text concentrates on the major damage points of the head and neck region.

The proceeding pages will deal with 32 of the pressure points of the body. Of course, there are quite a few more, but these are the basics. All of the points are classified into 2 catagories :

I - brain/skull
II - sense organs
III- life support, cardiorespiratory, major organs & tracts
IV - muscular functions & nerves
V - mechanical functions, skeletal, cartilage's & joints

A-immobility from pain
B-immobility from structural or organic damage
C-Unconsciousness from nerve or organic damage
D-death from physiological damage

The ventral transverse plane consists of the face, the front, top, & sides of the head, the neck, & the upper torso, including the collarbone. There are 15 pressure points in this area as follows:

1. Coronal Suture I-C
2. Trigeminal Nerve & Frontal Bone I-D
3. Temple & Fossa Temporalis I-D
4. Eyes II-B
5. Ears II-B
6. Mastoid II-A
7. Septal Cartilage II-A or II-D
8. Anterior Nasal Spine I-A
9. Temporomandibular Joint V-A
10. Tip Of Mandible I-C
11. Sternocleidomastoid Region III-D
12. Anterior Neck Region III-D
13. Brachial Plexus & Trapezius Muscle IV-C
14. Suprasternal Notch III-D
15. Clavicle V-B
16. Heart III-D
17. Kidneys III-B
18. Shoulder Socket V-B
19. Elbow V-B
20. Carpals, Metacarpals and Phalanges V-B
21. Patella V-B
22. Tarsals and Metatarsals V-B
23. Thoracic Cage V-D
24. Floating Ribs V-B/D
25. Vertebral Column V-B
26. Diaphragm III-C/D
27. Testes III-A/C
28. Coccyx III-A
29. Armpit IV-A
30. Posterior Cutaneous IV-A
31. Liver III-D
32. Spleen III-D

1: This region lays on top of the head, more towards the forehead. It is also known as the soft spot on babies. It is the space between the skull bones that is covered with a membrane that close up usually by 18 months, but the coronal structure is still weaker than the rest of the skull. Directly beneath this is the sensory portion of the brain & under that the optic cavity. A downward strike of about 45 degrees depending on the force could cause concussion, temporary blindness, unconsciousness, brain haemorrhage, even death (very powerful blow).

2: This region is located just below the centermost point of the forehead The nerve is on the outside of the skull thus when the bone is struck it will trap the nerve. This could result in jarring the cerebral hemispheres, concussion, unconsciousness, impaired vision, & paralysis. If and only if maximum impact is applied, death could result from brain haemorrhage.

3: I'm sure we all know where the temple is but for those of you that don't know it is located on a horizontal plane across from the top of the ear. It is the recessed part on each side of the head. It is actually the bone tip of the sphenoid. The trigeminal nerve runs through the temple. This nerve controls several facial functions. Also passing through is the middle meningeal artery which is the largest branch supplying dura matter. A direct hit could break the tip off the sphenoid causing it to enter the brain. The meningeal could burst. Contact to the trigeminal could result in loss of control of facial functions. Compression of the brain, hemorrhage, concussion, shock, & death are likely results of striking the temple with a horizontal blow directed towards the opposite temple.

4: The eyes are located...uh I think you know. The eyes are very sensitive even to the slightest touch. They are held in by fascia bulbi (a soft membrane) and eye muscles. This makes them easy to pop out. They are also very soft, and if a blow reached the vitreous body (center of eye) the eyeball would collapse. Other than causing temporary or permanent loss of sight a deep thrust could puncture the brain causing death.

5: These are located on each side of the head. Air is easily trapped in the external acoustic meatus (the tunnel from the outer ear to the inner ear) and forced into the eardrum causing it to bust. This in turn ruptures the hammer or malleus within the middle ear. Damages would cause severe pain, loss of hearing, bleeding from the mouth and ear, and bleeding into the throat via the internal auditory tube. Also, the inner ear is the center of equilibrium (balance) for the cerebellum. a forceful strike could leave the victim sprawled on the ground with no balance! The blow should be delivered horizontally driving into the ear.

6: The mastoid is located directly behind the earlobe. It is the recessed area where the skull meets the neck. It is filled with air pockets which are used to communicate with the middle ear. A thrust should not be used; rather apply pressure with a nuckle or thumbnail in an upward direction. Prolonged pressure could cause damage to the auditory system.

7: Known more commonly as the nose the septal cartilage is the hard substance that makes up the nose. Two strikes are used here for different measures

II-A : a horizontal strike causing breakage of the septal cartilage and nasal bone which ruptures the angular vein producing a lot of blood along with great pain, however, not enough to stop some attackers II-D : an upward 45 degree strike forcing the septal cartilage through the internal nasal cavity and crista galli (a small bone formation between the nasal cavity & the brain) into the brain. Death would be instantaneous because of compression of the brain.

8: This is located beneath the nose and above the lips. It is the area between the 2 lines running from the nose to upper lip. Many of the facial nerves run through this area. A direct hit would cause the sensory fibers to relay the shock to the pons, causing dizziness. A hit would also cause damage to the maxilla bone which holds the gums & teeth. This could cause extensive bleeding posibly scaring the victim about the blood loss. A straight blow in needed to achieve this aiming towards the back of the head.

9: This is the joint that holds the jaw bone in place. It connects with the skull in front of the ear. The joint is really made up of 2 separate joints, thus dislocation can be unilateral or bilateral. With a 45 degree downward strike (preferably with the mouth open) will dislocate the mandible (jaw bone). An easier way to break the bone is to strike the joint itself or anywhere on the jaw bone really while the head is turned to one side or the other. This reduces the absorbtion of the blow by the neck. This method requires the least amount of force.

10: The madible is the jaw bone and of course the tip is located on the very end of the chin. Boxers use this point for a quick K.O. Hitting this area sends a shock snesor to the cerebellum causing unconsciousness. Hit this point with an upward blow.

11: This is the area at the frontal sides of the neck. The sternocleidomastoid muscles run from behind the ear down to the clavicle bones. Beneath these muscles lie the jugular vein and cartoid artery which supply blood to the heart & brain. This are is very sensitive. Try poking yourself there. A medium strike results in dizziness. A more forceful blow could blister, swell, collapse or or burst 1 or both of the blood lines. This could easily cause death because of lack of oxygen to the heart or brain. A strike should be done on an upsloping plane at 45 degrees on either side of the chin in the neck area.

12: Referred to as the windpipe or throat; is located in the center portion of the neck. This is a tubular passage running from the mouth to the stomach & lungs. When a straight on blow is delivered the thyroid cartilage (Adam's apple(the lump in your throat)) and the hyaline cartilage (hold the windpipe in a cylinder shape) are pushed through the larynx and/or trachea resulting in blood drowning or partial or complete obstruction of the vital air passages. The cartilages act as cutting devices.

13: The muscle is the one that runs from the base of the neck to the shoulder. It raises up on most people. The brachial plexus is a nerve center which supplies info about the shoulder & arm down to the wrist. It runs through the trapezius. Striking the trapezius (from either front or back) with a downward 45 degree motion could paralyze the arm & shoulder temporarily. With a maximun blow unconsciousness & paralysis could be attained.

14: This lies between the collarbones; it connects them. A blow here could dislodge the collarbones from the sternum, collapsing the shoulders. But there are better targets behind the sternum. Such as the aorta, the superior vena cava (major blood lines to the brain), and the trachea all these pass directly behind the sternum. A forceful blow would follow these reactions : dislodge both clavicles from the sternum, the sternum would split, the 2 clavicles & sternum would be forced against or puncture the aorta and vena cava, the cartilages & bones would then be forced against or puncture the trachea. The strike should be delivered at a downward 45 degree angle. The suprasternal notch is a MAJOR death target.

15: This is the bone on each side of the body that runs from the shoulder to the center of the chest. It supports the shoulder so breaking a clavicle (collarbone) would result in the collapse of the shoulder. It is possible for the broken bone to puncture a lung or possibly the heart or one of the things mentioned in #14. A simple break would immobilize the victim due to structural damage & pain. An inward & down motion should be used when attacking also at 45 degrees.

16. This is the cardiac muscle that pumps the blood throughtout the body. It is hidden behind the sternam, (the breast plate in the middle of the chest). A forceful strike would cause the heart to skip beats and collapse, ceasing the movement of oxygen around the body resulting in death.

17. The kidneys are located in the soft area of the back, at the bottom of the rib cage. The front of the kidneys is protected by the floating ribs, however, the back of the kidneys are exposed and vunerable. There is one on each side of the vertebral column. A firm strike to this area generates alot of pain and will cause structural damage. Internal bleeding may result causing death.

18. This is the point at which the top of the humurus and the scaptula meet in a ball and socket joint. To disslocate the shoulder joint, one must place a foot or knee under the arm and sharply pull and twist the arm. This will create alot of pain.

19. The elbow, which is a hinge joint, where the base of the humurus and the forearm meet. This joint works only one way. Therefore, by holding the back of this joint and applying pressure by pulling the forearm in the opposite direction to which the subject is facing it can be broken quite readily. This will cause pain and immobility due to structural damage.

20. The carpals, metacarpals and phalanges are the bones which make up the hand and fingers. They are attatched by means of a hinge joint and can be easiely broken in much the same way as the elbow. This technique is effective against holds and stranglers where the fingers can readily be bent backwards. this will cause structural damage and generate pain.

21. The Petalla, often known as the knee cap, is a small round piece of bone which floats freely in the hinge joint of the femur and the tibia. By using a downward strike the petella can easiely become disslodged causeing pain and immobility.

22. The tarsals and metatarsals are the bones which make up the foot. They, like the carpals and metacarpals, work on the basis of hinge joints. However, it is extremly difficult to get the chance to, let alone bend these back. A prefered method is to execute an extremely powerful downward strike such as a stamp onto the bones causing them to break. the subject will then fall to the floor as there is no base on which the body weight can be placed.

23. The thoracic cage, often known as the rib cage, is the protective box in which holds the vital organs. The rib cage consists of a number of long bones that start at the spinal column and proceed around the body connecting at the sternam in the centre of the chest. A forceful strike or stamp to the frontal area can cause the thoracic cage to collapse resulting in the feeling of a tight chest, extreme pain and immobility. In some cases the broken bones may piece the heart or lungs resulting in death.

24. The floating ribs also begin at the spinal column and extend around the body. However, they do not join at the front. They are located below the thoracic cage and can be much more readily brocken than those in the thoracic cage. In some instances the brackage of these bones may pierce the liver or spleen resulting in the subject rapidly bleeding to death.

25. The vertabral coloumn or spinal column, runs down the centre of the back from the base of the skull to the anus. It is made up of a large number of small disc shaped bones connected together. The spinal column holds the spinal cord within it, this is a thick collection of nerves that controls the middle and lower body. A strong strike to this column would break the vertabrae and in some cases snap the spinal cord resulting in full or partial paralysis.

26. The diaphragm is a thick membrane located at the base of the sternam that strecthes from the front to the back and from left to right. THe diaphragm is the membrane that, by contracting and relaxing, changes the volume in the lungs causing intake and expiration of oxygen. A rising strike into this area would temporarily paralyse this membrane and knock out all of the air out of the lungs. Thus, damage to this organ would result in a inability to breath resulting in unconsciousness and maybe death.

27. The testes are located between the legs at the base of the body on a male. Even a slight strike to this area would cause extreme pain , immobility and maybe unconsciousness.

28. The coccyx is a small collection of bones located at the base of the spinal column at the anal opening. A forceful strike to this area would cause extreme pain and immobility.

29. The armpit is a concave area of tissue that is located under the arm where the upper arm and main body join. Within the armpit is a large gathering of nerves. Although this area is not often accessable, a strike to the armpit would cause intense pain and immobility.

30. The posterior cutaneous is a large collection of nerve cells found at the back of the upper leg. A pinching technique to this area would cause sharp pain and a sudden relfex action to move.

31. The liver is located on the right side of the body extending across to a point on the left. The top of the liver is protected by the ribs on both sides. However the bootom of the liver, found on the right side is unprotected. The liver is saturated with blood and any damage to this organ would result in a rapid loss of blood due to internal bleeding. Resulting in death.

32. The spleen is similar to the liver in that it too is saturated with blood. However, the spleen is a smaller organ and is found on the left side. It is completely protected by the ribs. Damage to this organ would also produce rapid blood loss due to internal bleeding. Resulting in death.

It is always an advantage for the assassin to have at least a basic knowledge of martial atrs. The following text by no means attempts to replace proffesional teachings. It is suggested that the training assassin enroles in one or more martial arts clubs. Preferences include, jujitsu, aikido, other close quarters fighting styles and maybe one or two distance styles such as taekwondo which involves kicking and jumping techniques. The following text will attempt to portray some of the practical aspects of martial arts.

The stance should be comfortable to the assassin. The stance should be about one shoulders width and one and a half shoulders long. The knees should be bent always, or they provided an easy target to become broken. The lead hand or front hand, should be about brought up to apx. 20 centermeters from the shoulder to the thumb. The rear hand should be brought up to next to the cheek and apx. 2 fist widths away from it. Both elbows should be brought in to protect the bidy. The body should be turn to about 45 degrees to provide a smaller target for the enemy. Always keep the arms up to protect the face.

Making A Fist: Firstly, the assassin must know how to make a proper first so as not to injure themselvs whilst in a confrontation.

*Fully open out the hand. *Curl the fingers down so they touch the pad of flesh running along the top of the palm; *Fold the fingers forward from the knuckles; *Lock the fist closed by folding your thumb across the index and middle fingers.

The thumb must never be closed within the hand as this will cause it to dislocate at the point of impact.

Strike the target with the index and middle finger knuckles only, holding the fist in such a way that the wrist does'nt flex painfully on impact.

The jab is a short punch delievered with the lead hand. The jab can be used as a distracting punch rapidly being followed up by a reverse punch, hook or uppercut.

*Begin in a comfortable stance allowing for the ability to move freely, always keep the knees bent.

*Extend the lead hand out and twist the hips into the punch to gain full distance.

*The chin should be kept tucked into the body so that a counter attack will not connect and break it.

*As the lead hand reaches the target, twist the hand so into the target, so that the palm is facing downwards.

*Punch out with your rear hand twisting your hips into the move by pivoting on the ball of the rear foot.

The back fist strike can be a follow up from a hook or can be used on its own, and can be used from either hand. A developed back fist can cause fatal results. *Start in the fighting position
*Bring the striking fist up to the opposite ear, palm facing inwards.
*Extend the arm striking with the back of the hand on the knuckles.
*Pull back the spent arm.

This punch is used to reach targets that the previous punches can not. It is also used as a counter attack to an incomming punch. Bring the lead hand up to the ear to protect the head and lean to the outside of the punch, ducking under it. Then execute the hook punch. It can be used form both the front and rear hands. The latter of the two will be discussed.

*Start in the fighting stance
*Slightly drop the rear hand and bring it back a little.
*As you bring it forwards, push the elbow out so that the forearm is parallel to the floor.
*Twist the hips and let the hand follow, bringing power into the punch. Pivoting on the ball of the rear foot.

The uppercut is used to get up under the enemy's defense and into the body region. It can also be performed from both front and rear. The latter will be discussed.

*Begin in the fighting stance
*Drop your body weight slightly by bending your knees. You should also drop the rear shoulder bringing the palm to face your body.
*Push up with your legs and simultaneously push the rear hand up vertically and out towards the target. Be sure to twist the hips into the punch and pivot on the ball of the rear foot.
*The rear shoulder should have the effect of creating a small circular movement.

The palm heel strike uses the base of the hands palm to perform a powerful strike, usually upwards forcing a particular section of the target further on.

*Begin in the fighting position
*Bring the lead hand up to the face to protect it.
*Step forward slightly with the lead foot.
*Turn the rear hand so that the palm faces away from your body
*Extend the fingers of the rear hand.
*Push the heel straight forwards to strike the target. Twist the hips as you do this to add power and speed.
*Quickly retrieve the hand and bring it back to the guard position.
*Ensure that you strike with the heel of the hand and keep the thumb tucked back.

This technique can be performed from either the lead or rear hand and can deliever a powerful, painful and immobilsing strike.

*Begin in the fighting stance.
*Extend the figures of the hand to be used and bring the thumb in across the palm, providing a 'knife' edge.
*Perfrom a hook like manouver, striking with the index finger edge of the hand. Be sure to keep the thumb tucked well in.

This strike is effective in close combat, and can be delievered with either arm. It can provide a powerful immobilizing attack to the enemy.

*Begin in the fighting position
*Keep the hand near to the shoulder and perform a hook manouver.
*Strike with the point of the elbow and twist the body into the attack.

This can be used in place of an upper cut in close combat, and can also be delievered from either arm. It can produce disasterous effects including death.

*Begin in the fighting position
*Bring the fist up the shoulder
*Bend the knees and as the legs are straigthened-
*Push the point of the elbow striaght up and slightly out to meet the target.
*Ensure a good body twist for full damage

This is the first technique taught to the begginer in most martial arts. It is often used to stop a lunging attack and, once learnt correctly, can have devestating effects. All kicking techniques can be performed from both legs. The most powerful of the two is the rear leg, therefore, this is the one which shall be described in all cases here after.

*Begin in the fighting position
*Lift the rear knee up close to the chest
*Keeping the foot on the same horizontal path straighten the leg out leaning back and pushing your hips into the kick.
*Hit the target with the ball of the foot.
*Bring the knee back in by the chest before placing it back down, This is so that another kick can be executed quickly and with power if needed.

This is the most powerful of kicks. It can collapse a thoracic cage and is useful for stopping lunging attacks. This technique can become devestatingly powerful by stepping the rear leg behind the front leg then executing the side kick from the front leg.

*Start in the fighting stance
*Bring the rear leg up to the chest
*Pivot on the base foot so that the toes point away from you to the rear. The leg should naturally turn horizontal.
*Push the foot out to create an imaginary line fom the shoulder down the hip and to the heel.
*Strike the target area with the outside edge of the foot.
*As before, pull the leg back to the chest before placing it down.

This kick can be performed with tremendous speed and power, breaking ribs, legs and arms if correctly applied. Proffessional martial artists can knock someone out and sometimes kill them with a turning kick to the head.

*Begin in the fighting stance
*Imagine/or place a chair next to your front foot and infront of your rear foot. Lift the rear knee high and bring it up and over the chair coming around pivoting on the ball of the base foot as before.
*Stop the knee before it goes past the imaginary line that runs through the body.
*At this point, allow the lower leg to continue keeping the knee where it is.
*After striking the target, keeping the knee still, bring the foot back so that the heel touches your bum. Then bring the knee back down coming back over the chair to the start position.

The back kick can generate alot of power if performed correctly. It is not advisable unless you are already turning or have alot of time. This kick must be performed very fast so as to not be caught out.

*Start in the fighting stance.
*Bring the front foot across just passed the rear foot.
*Twist the whole body by pivoting on the balls of the feet. You should be in an opposite stance facing away from the enemy.
*Look over your, now front foot side, shoulder
*Lift the new front foot up
*Push the leg straight out behind you so that the knees nearly touch, leaning forward as you do so
*Strike the target with the heel of the foot.
*Bring the knee back up in front and, pivoting on the ball or heel of the base foot, resume the original stance facing the enemy.

The easiest way to block a punch is to move. It requires only a small movement of the head to avoid a punch. If the punch comes to the body then by simply twisting the hips and deflecting it with the ready positioned elbows or forearms will produce the desired effect. A block can be developed powerful enough to break the arm of a incoming punch.

*From the fighting stance;
*Twist the lead hand so that the palm is facing your body
*Push the forearm straight down stopping just passed the groin area.
*Instantly bring the blocking hand straight back up into the guard position.

*Start in the fighting position
*Bring the lead arm across the body so that your palm is are facing your ear.
*From there, push the forearm straight up twisting the hand as it reaches the attack so that the palm is facing away from you.
*Be sure that the block extends over the head by about one and half fist widths.
*Instantly bring the hand back into the guard position.

*Begin in the fighting position
*As the attack is seen, bring the arm closest to the attack up so that the fist is near the ear, and elbow pointing forward.
*Learn in towards the enemy and strike with a head butt, hook, punch, uppercut or similar strike.

*Start in the fighting position.
*Bring the rear gaurd forward in line with the lead hand.
*Twist the upper body 45 degrees into the attack.
*Slightly extend the forearms into the attack, moving them from the shoulders.

*Begin in the fighting stance
*Perform a low block with the lead arm stopping at the groin area and twisting the shoulder into it.
*Simultaneously, bring the right hand across the front of the neck and extend the fingers out when the hand reaches the opposite side of the jaw.

Chokes and strangles are often an effcetive way to maintain control or subdue an enemy. The main difference of the two is that the strangle cuts off blood supply to the brain and the choke cuts off the air supply. The strangle is the quicker of the two and is relatively painless in execution and on release does not normally permantly damage the enemy. The choke, however, can cause substatial damage to the throat and wind pipe and immediate recovery is not always certain.

1. Place the left palm facing upward on the enemy's left shoulder.
2. Take the right arm across and in front of the neck with the right hand on the left. Ensure that the inside cutting edge of the wrist is towards the throat.
3. Claps the hands together.
4. Pull the cutting edge of the right wrist into the throat in an inwards and upwards manner, using the body as a block.
5. With the legs wrapped around the enemy's body, work the right arm in front of the throat clasping the left hand. Pull the wrist tightly into the throat controlling the body with the legs. If he pulls his chin in, draw the head back with the left hand , grabbing the arm - drive the right arm into the throat, then quickly clasp the hands again.

The enemy will be fighting for his life, therefore, keep tight control, manipulate your arms into the appropriate positions.

Special Points: Essential to pull the enemy into the body for maximum effect, using the cutting edge of the wrist.

1. Place the right hand round and in front of the enemy's throat.
2. Continue the movement round to the back of the neck, placing the thumb inside the clothing.
3. Take a firm hold of the clothing with the right hand, with the fingers outside and to the rear.
4. Bring the left arm round in front and underneath the right arm.
5. Grab the clothing with the thumb inside and fingers out.
6. Keeping the enemy's body pulled tightly back into your own pull across and to the right with the right arm and down and across to the left with the left arm.
7. With the legs wrapped around the enemy's body work both arms around the front of the neck.
8. Manipulate the right hand round the back of the neck grabbing the collar with the thumb inside, fingers out, simultaneously grabbing the cloth under the right arm with the left hand.
9. Apply pressure by pulling the right arm across and back to the right with the left arm pulling across and down to left. Keep the head well in.

Special Points: Essential that the right hand be placed as afr round the neck as possible in order to attain the maximum leverage.

1. Place the right hand inside the opponents clothing to the rear and right side of his neck, with the fingers inside and thumb out.
2. Take the left hand across and over the right and attack it in a similar manner on the left side.
3. Squeeze the neck tightly by pulling the hands back across in scissors action driving the elbows out to the side.
4. With the enemy facing - cross the hands and work to the sides and back of the neck grabbing the cohting, fingers inside and thumb out.
Apply pressure by pulling the elbows out to side. This attack is good when the enemy is laynig on their back.

Special Points: Essential that the hands are placed well to the rear of the neck for maximum leverage. Can also be accomplished with palms facing down or alternate one up, one down depending on circumstances.

1. Place the right hand thumb inside, fingers out, on the enemy's clothing to the right side of his neck.
2. Grab the front of the clothing with the left hand, fingers inside, thumb out. 3. Drive the outside cutting edge of the right arm into the side of the neck grabbing the clothing, thumb inside, fingers out.
Grab the clothing at the front with the left hand and apply pressure by driving the outside cutting edge of the right arm into the throat.
Effective against the floor or a wall where the opponent cannot learn back away from the direction of the force.

Special Points: Essential to keep the right elbow high and use the cutting edge of the wrist.

1. Holding the opponent with the left hand make a vice with the right hand.
2. Grab the windpipe, fingers on the right side, thumb on the left.
3. Squeeze the wind pipe tightly trying to make a fist with the right hand.
4. Grab the enemy around the neck with the right arm spreading the legs wide to ensure a firm base.
Grab the windpipe with the left hand squeezing the fingers and thumb together to make a fist.
5. In addition to the windpipe choke - adopting the same position - the thumb of the left hand can be driven into the eye applying pressure inside and out.

Special Points: Esssential that the windpipe only is grabbed and not too much of the neck. Fingers should be together for maximum effect on the squeeze.

1. Place the hands with the fingers pointing to the sides of the enemy's neck. 2. Grab the clothing at the sides of the neck with the fingers inside, thumbs out, and make a tight fist with each hand.
3. Drive the knuckles of each fist into the sides of the neck.
4. With the legs wrapped around the enemy's body grab the clothing at the side of the neck with the fingers inside, thumbs out.
5. Making a tight fist, drive the knuckles into the sides of the neck.

Special points: Essential that knuckles are strongly pressed into the veins and arteries of the neck for maximum effect. For maximum pressure ensure the cutting edge of the knuckles is pressed into the neck.

The are many arm and wrist locks which can be highly effective in controlling an enemy during a situation. However, most locks are enhanced by first shocking the enemy with another technique, such as a punch or kick.

Hair & Hammer Lock 1. Grab the enemy's right wrist from the rear with the right hand.
2. Move forward gripping the right elbow with the left hand.
3. Bend the arm behind the back hooking the lower arm in your left.
4. Grip the hair with the right hand
5. pull the haed hard to the rear.

Special Points: Essential to move forward when hooking enemy's arm in your left - this will help to bend the arm. Lift the enemy upwards to keep him off balance. This lock can also be used as defense by catching a straight hand strike on the outside of the wirst with the rear hand applying the lock. this method could be followed up with a japanese strangle hold (see sentry removal)

1. Take hold of the enemy's right wrist with the right hand.
2. Slip the left thumb interlock with enemy.
3. Rotate the back of the left hand around the back of the enemy's hand.
4. Retaining the thumb hold, pull the wrist towards the body.
5. Pull the wrist towards the body with the right hand and slip the left palm under the back of his hand.
6. Take the enemy's elbow under the arm and apply upwards pressure.

1. Grab the enemy's right arm with both thumbs to the back of the hand, fingers around the base of the palm applying wrist lock.
2. Twist the hand over to left to begin a large circular movement.
3. Continue to apply pressure to the wrist by moving the body round to the left, force the enemy to the ground with the wrist lock.

Special Points: After the throw, a follow up technique such as a hand strike could be applied.

Body throws are very effective during close quarter combat when an enemy presents themself open to the type of technique. Leg sweeps, on the other hand, can be effective from a longer range and are especially useful when moving in on the enemy.

1. Enemy attacks with a left puch to the body. Move forward to block the pucnh with a right downward block.
2. Block the punch as the right leg steps forward and through.
3. Take the right hand round the back of the enemy smothering and grabbing his right arm with your left.
4. Bring the left leg into the right and pull with the left hand getting the hip into and under the enemy's body.
5. Drive upwards with the legs and hip pulling the enemy over with both arms.
6. Drop the enemy down in front and raise the right arm to prepare for a counter.
7. Counter with a downward punch to the face.

Special Points: Ensure that the hip moves well through and into the opponents body with both legs underneath for maximum upward drive. It is essential in throws of this type to pull the enemy hard into the body to assist leverage. The enemy should also be driven strongly into the ground.

1. Enemy attacks with a right punch to the head. Block the punch with a left head block.
2. As you block, grip the clothing pulling the arm down and move forward taking the right hand to the left collar.
3. Grab the clothing behind the neck with the right hand asthe right leg moves forward.
4. Continue the movement of the right leg forward and through puliling the enemy hard into the side and twist hard round to the left.
5. Continue turning to the left pulling with both arms until the enemy falls over the right leg. As enemy drops over the leg release the grip with the right hand so as not to fall to the ground.
6. Raise the right hand and prepare for a counter.
7. Counter with a right downward punch to the kidneys.

Special Points: Essential to drive into the enemy pulling back as soon as possible to stop him bending forward out of the throw.

1. Enemy attacks with a left front kick.
2. Move to the right, blocking the kick with a left low block.
3. Move forward grabbing the enemy by the arm and shoulder.
4. Sweep the leg pulling the enemy to the rear with both arms.
5. Control the enemy on the ground.
6. Press down onto the side with the left nee and raise the right arm to counter.
7. Drive the right fist into the face.

Special Points: Essential that the sweeping leg is brought quickly back to regain balance and assist with backward momentum.

1. Enemy attacks with a left punch to the head.
2. Grab the punching arm with the right hand grabbing the clothing on the shoulder with the left.
3. Drive the left foot to the inside of the enemy's left leg.
4. Sweep the leg pulling forward with the left hand.
5. Continue to pull taking the enemy over and to the ground. Assist the turn by lifting up and over with the right hand.
6. Keeping a firm hold with the right hand raise the left arm to counter.
7. strike down to the face with a left fist.

Special Points: Essential to co-ordinate the pull and the sweep for maximum effect.

1. Enemy attacks with a right punch to the head. Evade the punch with a double arm block to the outside of the punch.
2. Grab the punching arm with both hands hooking the right foot behind the front ankle.
3. Lift the foot forwards and up pulling to the rear with both hands. As with the 'outside sweep' pull thehooking leg quickly back to the rear to regain balance.
4. Drop onto body with the right knee lifting the right arm to counter.
5. Drive the right fist down into the groin.

1. Enemy attacks by grabbing the upper body and attepting a knee strike. Lower the body smothering the attack taking the left arm down under the attacking leg.
2. Grab the leg with the left arm taking the right arm around the back.
3. Step forward and through with the right leg hooking around the enemy's supporting leg.
4. Hook the leg and drive the enemy to the ground. Pull back before landing to maintain initiative and balance.
5. Control the head by forcing the right hand into the face.
6. Stand, lifting the leg, exposing the groin and raise right arm to counter.
7. Drive the right fist down into the groin. Special Points: The right hand comes away from the back before the enemy hits the floor. Lower onto the right knee to prevent falling on top and losing control.

For many centuries the gun has proven to be a vital part of any military operation. The gun is a system by which pieces of metal are force in a desired direction at a tremendous velocity by the use of small explosive charges. The following text will run over a few gun catagories and explain how they work and how to use them.

Hand guns generally come in two main types: A revolver, and a semi-automatic. The latter of the two is more commonly seen. The revolver works by means of a tumbler that usually houses 6 bullets. To load a revolver, there is usually a small bar under the barrel. This is pulled and the tumbler will fall out to one side. The bullets are then loaded into their respective holes in the tumbler. The tumbler is then pushed back into the original position and the trigger is pulled to release the rounds. For each trigger pull one round is released. The tumbler will rotate around to the position that the next bullet is and then it is ready to be shot once more.

The semi-automatic hand gun works on a different principle. The bullets are stored in a magazine, which is inserted into the handle of the gun until a click is heard. The bullets in the semi-automatic gun are stacked one on top of the other within the magazine. Once the magazine has been secured in the gun, the top slide must be pulled back. This is done by gripping the top of the gun with the thumb on one side and the side of the index finger on the other. The top is then pulled back then released. It will then spring into its original position. This action allows one bullet to move up into the barrel or chamber. After, the trigger has been squeezed and the shot fired, the top slide will automatically slide back as before releasing the spent shell and moving the next one into the chamber. After all of the rounds have been used the top slide will slide back as before and stay there. The magazine is then taken out by means of a catch or button on the side of the handle. The new magazine is then put in and a catch or lever usually on the left hand side is pushed down and the first round is then loaded. the safety catch on a semi-automatic hand gun is usually positioned on the left hand side above the thumb and is often indicated by a red dot when it is not on.

There are several methods to hold a hand gun or pistol. The most common of which is often known as the cup and saucer method. The pistol is gripped in, say, the right hand. The base of the handle on the gun is then placed in the palm of the 'left' hand and the fingers of the 'left' hand are curled up to grip the bottom of the gun. The gun is then aimed by straightening the 'right' hand, but keeping a slight bend in the elbow. The left leg is positioned ahead of the right and the aim is then taken up.

There are literally many types of rifle. The basic principle is the same. These guns often also use a magazine and are loaded in much the same way as the semi-automatic hand gun. The difference comes in that there is no top slide but rather a lever on the right hand side. Once the magazine is in place the lever is pulled back by gripping it along the base of the fingers with the palm facing up and releasing.

There are also many methods of aiming the rifle. The most common methed is to grip the handle with the right hand. Bring the rifle up to face in front of you running parallel to the ground. Place the barrel section of the rifle on an open left hand. The fingers should be on the right hand side and the thumb on the left. Curl the fingers and thumb around the barrel section. Keeping the left arm bent and the elbow tucked into the body. The right elbow is then raised so that the arm is parallel with the ground. The rear of the rifle, or butt, is then firmly tucked into the front of the right shoulder. The left leg is aprx. one shoulder witdth infront of the rear and apx. one shoulder width off to the side. The aim is then taken up.

It is essential that you are capable of firing your weapon accurately and instinctively in the event of a situation arising. This can best be achieved if you understand and apply the following marksmanship principles.

B. The weapon must point naturall at the target without any undue physical effort.

D. The shot should be released and followed through without disturbance to the aim.

1. The influence of wind and other factors affect the fall of a shot. It will frequently be neccessary to aim away from the centre and at times off the target to attain a central hit.

3. In the early stages of shooting training, a white patch is super imposed on the target. Always aim at the bottom of the patch. Initially it serves as a defined point of aim (POA) for grouping practices. Later, the patch will be used as a datum point for zeroing.

4. When engaging targets without a patch, select a POA that will apply fire to the target centre.

Aiming can never become instinctive, thogh practice can induce speed. Above all it requires concentration to achieve sight alignment together with the correct aim picture which is a four point relationship between the eye, the centre of the aperture, the tip of the foresight and the POA.

The final marksmanship principle is: the shot must be released and followed through without disturbance to the aim. If this is carried out correctly, providing that the correct aim and hold are adopted, the bullet will go in the direction in which the barrel is pointing.

"The shot should be fired without disturbance to the aim". In oder to do this the position and hold must be stable and the weapon must point naturally at the target. Providing the rythm of breathing is controlled and the trigger is operated smoothly, the shot will be released and the bullet will leave the muzzle without any undue movement of the weapon.

Breathing is a natural bodily function which will continue at a steady rate and without strain, untill an individual does something to disturb the cycle. It is important, therefore, to regulate and control the breathing during the time the shot is released and to do it without strain.

During the period of breath restraint the aim must be perfected and the trigger operated to achieve a shot release without any alteration to the aim or to the grip.

As the shot is fired the recoil action causes the weapon to move and the direction of this movement should be consistent for successive shots. Direction of movement can be indentified by consentrating on the aim picture throughout the process of trigger operation. When the direction of movement is not consistent with that of previous firing, it is an indication that all is not well, and it may be found that this particular shot will be displaced from the remainder of the group.

Remember! The ability to shoot well requires coordination and control of a number of skills and the consistent application of the previously mentioned marksmanship principles.

In battle or during range work, the strength and direction of the wind have a direct effect influence on the path of the bullet. It is essential that you make allowances to counter this influence and ensure a first round hit. It is also important to know how to react, should the shot miss the target.

Errors in elevation and direction can be overcome by changing the POA, for example if, fom the POA, the shot is seen to be high (300mm) and to the left (100mm), reaim low (300mm) and to the right (100mm) of the original POA. Errors in the elevation can only be corrected by altering the range setting. An alteration of one graduation on the range drum will alter the position of the mean point of impact (MPI) by approximately the same number of millimeters as the range of the target. ie. 200m = 200mm, 300m + 300mm, etc. When firing at small targets at ranges of 200m or less, aim at the bottom of the target.

Only a wind blowing across the front at ranges greater than 100m will make the bullet veer considerably. To allow for this, aim off to into the wind: the direction of the wind can be determined by its effect on the face, trees dust and smoke. The amount to aim off is determined by the strength of the wind.

1. A fresh wind has an appreciable effect on bushes and thin branches of trees and can be distinclty felt on the side of the face. It would cause flags to stand about half way out from the pole.

2. A strong wind has a noticable effect on tree tops and lifts dust off dry grounds. Range flags would tend to strain away from their poles.

In windy conditions at ranges greater than 100m the following POA should be used for fresh wind (10kph) and strong (20kph).

A. Fresh wind 200m : POA is halfway between the centre and the edge of the target.
B. Strong wind 200m: POA is at the edge of the target.
C. Fresh wind 300m: POA is at the edge of the target.
D. Strong wind 300m: POA is one target width from the centre of the target.

When in a gun fight situation, when possible, indentify the type of weapon used and identify the type and number of rounds associated with it. This way you will be able to count the bullets and catch the enemy on a reload. To count the rounds try not to mentally count 1,2,3,4 - rather let the pattern of shots enter you mind and asses them. Practice by watching films - people often use 8-9 rounds from a 6-round revolver. Be aware of extended magazines! When in a gunfight, do not always aim directly at the target. use knock on effects. If there is an explosive cylinder nearby the target aim for it and cancel the enemy that way. Likewise, loosly hung heavy or electrical objects can be knocked/shot down onto the enemy. If the enemy is standing in a pool of gas or petrol aim at the floor or metal object nearby. If the enemy is in a pool of water, aim to move an electrical applience into the watery area. Never watse ammunition. Take an aim as much as possible. With an automatic - use short, sharp, directed, bursts of fire. When under enemy fire - find cover. if none is available create some. Target any explosive or smoke/steam producing objects between you and the enemy. Open a car door an get behind it.

When engaged in a gun fight - take two shots at the target with out aiming whilst moving to cover. Once in cover, take aim and cancel the target.

The blowgun is an interesting weapon which has several advantages. A blowgun can be extremely accurate, concealable, and deliver an explosive or poisoned projectile. The manufacture of an explosive dart or projectile is not difficult.

Perhaps the most simple design for such involves the use of a pill capsule, such as the kind that are taken for headaches or allergies. Empty gelatin pill capsules can be purchased from most health-food stores. Next, the capsule would be filled with an impact-sensitive explosive, such as mercury fulminate. An additional high explosive charge could be placed behind the impact sensitive explosive, if one of the larger capsules were used.

Finally, the explosive capsule would be reglued back together, and a tassel or cotton would be glued to the end containing the high explosive, to insure that the impact-detonating explosive struck the target first.

Such a device would probably be about 3/4 of an inch long. Care must be taken- if a powerful dart went off in the blowgun, you could easily blow the back of your head off.

A modern wristrocket is a formidable weapon. It can throw a shooter marble about 500 ft. with reasonable accuracy. Inside of 200 ft., it could well be lethal to a man or animal, if it struck in a vital area. Because of the relatively large sized projectile that can be used in a wristrocket, the wristrocket can be adapted to throw relatively powerful explosive projectiles.

A small segment of aluminum pipe could be made into an impact-detonating device by filling it with an impact-sensitive explosive material.

Also, such a pipe could be filled with a low-order explosive, and fitted with a fuse, which would be lit before the device was shot. One would have to make sure that the fuse was of sufficient length to insure that the device did not explode before it reached its intended target.

Finally, .22 caliber caps, such as the kind that are used in .22 caliber blank guns, make excellent exploding ammunition for wristrockets, but they must be used at a relatively close range, because of their light weight.

When special ammunition is used in combination with the power and rapidity of modern firearms, it becomes very easy to take on a small army with a single weapon. It is possible to buy explosive ammunition, but that can be difficult to do. Such ammunition can also be manufactured in the home. There is, however, a risk involved with modifying any ammunition. If the ammunition is modified incorrectly, in such a way that it makes the bullet even the slightest bit wider, an explosion in the barrel of the weapon will occur.

If an individual wished to produce explosive ammunition for his/her handgun, he/she could do it, provided that the person had an impact-sensitive explosive and a few simple tools. One would first purchase all lead bullets, and then make or acquire an impact-detonating explosive. By drilling a hole in a lead bullet with a drill, a space could be created for the placement of an explosive. After filling the hole with an explosive, it would be sealed in the bullet with a drop of hot wax from a candle. This hollow space design also works for putting poison in bullets.

Because of their large bore and high power, it is possible to create some extremely powerful special ammunition for use in shotguns. If a shotgun shell is opened at the top, and the shot removed, the shell can be re-closed. Then, if one can find a very smooth, lightweight wooden dowel that is close to the bore width of the shotgun, a person can make several types of shotgun-launched weapons.

Insert the dowel in the barrel of the shotgun with the shell without the shot in the firing chamber. Mark the dowel about six inches away from the end of the barrel, and remove it from the barrel.

Next, decide what type of explosive or incendiary device is to be used. This device can be a chemical fire bottle (sect. 3.43), a pipe bomb (sect 4.42), or a thermite bomb (sect 3.41 and 4.42). After the device is made, it must be securely attached to the dowel. When this is done, place the dowel back in the shotgun. The bomb or incendiary device should be on the end of the dowel.

Make sure that the device has a long enough fuse, light the fuse, and fire the shotgun. If the projectile is not too heavy, ranges of up to 300 ft are possible.

Special "grenade-launcher blanks" should be used- use of regular blank ammunition may cause the device to land perilously close to the user.

This section deals with the manufacture of special ammunition for compressed air or compressed gas weapons, such as pump B.B guns, CO2 B.B guns, and .22 cal pellet guns. These weapons, although usually thought of as kids toys, can be made into rather dangerous weapons.

A B.B gun, for this manuscript, will be considered any type of rifle or pistol that uses compressed air or CO2 gas to fire a projectile with a caliber of .177, either B.B, or lead pellet. Such guns can have almost as high a muzzle velocity as a bullet-firing rifle. Because of the speed at which a .177 caliber projectile flies, an impact detonating projectile can easily be made that has a caliber of .177.

Most ammunition for guns of greater than .22 caliber use primers to ignite the powder in the bullet. These primers can be bought at gun stores, since many people like to reload their own bullets. Such primers detonate when struck by the firing pin of a gun. They will also detonate if they are thrown at a hard surface at a great speed.

Usually, they will also fit in the barrel of a .177 caliber gun. If they are inserted flat end first, they will detonate when the gun is fired at a hard surface. If such a primer is attached to a piece of thin metal tubing, such as that used in an antenna, the tube can be filled with an explosive, be sealed, and fired from a B.B gun.

The front primer is attached to the tubing with a drop of super glue. The tubing is then filled with an explosive, and the rear primer is glued on. Finally, a tassel, or a small piece of cotton is glued to the rear primer, to insure that the projectile strikes on the front primer. The entire projectile should be about 3/4 of an inch long.

.22 caliber pellet gun usually is equivalent to a .22 cal rifle, at close ranges. Because of this, relatively large explosive projectiles can be adapted for use with .22 caliber air rifles. A design similar to that used in section 5.12 is suitable, since some capsules are about .22 caliber or smaller. Or, a design similar to that in section 5.31 could be used, only one would have to purchase black powder percussion caps, instead of ammunition primers, since there are percussion caps that are about .22 caliber. A #11 cap is too small, but anything larger will do nicely.

The assassin regards anything and everything as a weapon. From a firearm or sword, down to a feather in the enemy's throat. The key to successful defense using objects other than the empty hand is - Improvisation. The spine of a book can be used to deliver an effective strike to the throat or nasal area, as can a credit card. In ninjitsu the ninja would never perform a block as such, rather they would aim to attack the incoming threat. This can be kept in mind whenever using weapons.

Tips for weapons - To enforce the forearms and shins against attack. Wear shin guards with metal bones in. These can also be worn on the arm, although martial art forearm guards are available. They should be fitted with metal bars, plates or bones to ensure devatating blocks and protection from blade attacks. For defense against headlock manouvers, sewing pins should be carried in the outside edge of the top of trousers. Keep a knife in trouser pockets or fixed to a belt. Do not place in jacket pockets as these pockets are more prone to move and become twisted and unavailable in a combat situation.

This next section of text will run through a few weapons, both modern and traditional, and attempt to provide some insight into their use and substitutes.

These are oriental weapons form india. They comprise of a hard wooden stick apx. the length of the users arm. They are often used in pairs. The following text will describe the basic use of the single eskrima stick.

Substitutes: Half a pool cue, tree branches, any short, straight, hard stick, pole or bar.

*The weapon is held in the right hand, apx 1 1/2 widths of a fist from the base. The length of the weapon should extend forwards and away from the body. The left leg should lead as this allows you to block with the lead hand and strike with the weapon hand.

*An effective downward strike can be performed by moving the elbow into the centre of the body and allowing the furthest point of theweapon to execute a large circle by twisting the wrist inwards.. The point of the weapon should proceed straight down passed the knee and up passed the shoulder. Add power as the weapon goes round. This technique can be applied to areas such as the clavicle, sternocleidomastoid region and top of the head.

*Another technique is to bring the weapon around from the right hand side in a sweeping motion. This can be executed against areas like the temples, temporomandibular joint, liver, spleen, ribs, ears, arms legs and knees.

*The base of the weapon can also be used to strike the enemy by using a jabbing motion, in areas such as the temple and neck region, the spinal column, kidneys and ribs.

*The base can also be used as an effective uppercut type move. This would be used on areas such as the testes, nasal area and tip of the jaw.

*An alternative method of holding the weapon would be to place it in the right hand as before. Then bring the furthest piont straight up and over and behind the right shoulder. The left hand would then grasp the 'loose' end from under the right armpit. Form here a number of strike can be executed by both hands. This has the advantage that the enemy does not no where the strike will orignate from until it is to late.

*The weapon can also be used to generate some devestating blocks againgst a number of attacks.

*A simple downward block can be perfomed by bring the futhest point straight down passed the left hand side, ending just passed the right knee. The left hand is brought into the body to act as protection.

*A block to the middle section would be performed by bringing the right hand horizontally across to the left, keeping the base of the weapon parallel to the ground, and the length of the weapon vertical. Slightly shift the body weight to the right to add power. This block can be quickly followed up by a sweeping strike originating from the left side.

*A high section block can be executed by turning the weapon to fall across the body, with the further most point on the left side and the length parallel to the ground. Bend the legs, dropping the body weight as you push the right hand straight up above the head.

The jo is the japanese short staff. It is apx. 5ft high or as tall as from the ground to the users shoulder. It is often made of a hard wood and is used on its own.

Substitutes: Pool cue, Broom stick, other poles, sticks and bars of apx. 5ft in length.

*The jo is held apx. 2ft in from the right with the right hand, palm facing down. and apx. 2ft in from the left end with the left hand , palm facing up.

*The most effective strike is to pull the left hand in to the body while pushing the right hand out, striking the target with the right end. This can also be executed in the same fachion on the left side. By alternating, low right, middle left and high right, you can produce a fast combination of attacks. Always be sure to pull and push to gain maximum power. Target areas: legs, knees, arms, ribs, side of the neck, temporomandibular joint, ears, temples.

*Another technique is to move the left hand across to the right making the weapon become vertical on the right hand side. The right hand is then pushed upwards to perform an uppercut type move. From here, another strike can be executed by slightly lowering the right hand and placing the left hand so that the palm is facing the opposite wya to which it should. The right hand is then brought sharply down to the right hip and the left hand sharply brought down onto the target. Target areas: tip of the jaw, testes, nose, armpit. // clavicle, top of head.

*Another strike can be can be performed by moving the left end out to face away from the body on the right hand side, keeping the weapon parallel to the ground. Slide the right hand to the back of the right end. Step forward with the left leg and push with the right hand, allowing the weapon to slide through the left hand causing a 'stabbing' effect. This is useful when being charged at. Target areas: Groin, liver, spleen, throat, diaphragm, eyes.

*Use the same methods as those used for the eskrima stick. However, keep both hands in position and use the central part of the weapon to take the attack.

The knife is probably the most common weapon that will be incountered. Contrary to popular belief, the knife can be used as a method of attack and defense. More techniques will be discussed in -sentry removal.

*There are two main methods to hold a knife. These will be discussed seperately.

*The first method is to take the knife, place it in the hand with the sharp edge facing across the body. Start with the hand flat out palm facing up. Place the knife across the base of the fingers, with the bottom of the handle facing you and the top pointing away, running just across the first bone sectionof the index finger. Curl the fingers in over the handle. Then place the thumb on top of the handle, nail facing up, and pointing in the direction of the blade.

*The straight thrust is performed by pushing the knife hand straight forwards into the target. Target areas; heart, diaphragm, liver, spleen, kidneys, lungs.

*By performing a hook type motion, moving the knife to come into the target from the side, successful penetration and damage can be attianed. Target areas; Temples, jugular viens in the neck region, ears, mastoid, liver, spleen, kidneys, lungs

*Performing a straight thrust with the blade facing upwards, and causing the knife to rise into the target, a fatal penetration can be attained. Target areas: Liver, spleen, kidneys, diaphragm, heart, lungs.

*There are not many defensive options using this method of handling the knife. The best ways to defened yourself against an attack is to use the blade to re-direct the attack, by pushing it out of the way.

*The second method of holding a knife is to adopt the ice pick grip. This can be seen as the method used by Steven Seagal in many of his films. Take the knife and place it in the hand exactly as before, however, this time the blade should be facing you as if you were about to stab yourself. The sharp edge must be gacing away from you so as to not cut your wrists during defensive moves.

*One method of attack is to move the knife in a clockwise, circular motion (if in right hand, anti-clockwise if in left hand) puching the blade out across the target causing a slicing effect. Target areas: Chest, face, neck area.

*A second method is as above, but rising up in an uppercut manner, slicing the target vertically rather than horizontally. Target areas: Chest, throat, face.

*Turn the hand palm up and perform a hook motion, digging the blade into the target from the side. Target areas: side of body, neck area, ears, mastoid, side of the head.

*The above method can aslo be executed from the opposite side. Bring the knife hand to the opposite side of the body, turn the palm to face down. Thrust the knife out into the target from the side. Target areas; as before.

*Use the blade to block any incoming attack by either, turning it to face away from the body and into the attack. Re-directing the attack away from your body and attacking it at the same time. This can be followed up by a strike as stated in point 3.

*If the attack comes from the other side, move the knife hand across the body to the opposite side, shifting the body weight to the knife hand side. A follow up can be executed as stated in point 4.

*By performing a basic low block, the blade can protect against a low section attack.

Based on the pocket weapon used by Steven Seagal in the film 'The Glimmer Man'. This weapon can be easily concealed and easily carried. The effects of the weapon can be fatal if used correctly. There are 3 ways to build an effective glimmer card. Number A is the most effective and, therefore, the most complex, number B is also very effective but less complex in construction, type C is the simplest to construct and is also effective:

A. Take an old credit card or pocket card of similar size and material. Using a very thin blade, cut a deep grove into the longest edge of the card. Now take two small razor blades (ie gillette sensor excel blades), and place into the grove blade pointing out. Secure with glue or by other appropriate means.

B. Take the card and, using glue or something similar, attatch the blades to the back of the card running down the longest edge.

C. Rather than using small blades, use a file to sharpen one length of the card into a cutting edge. This too will provide an extremly destructive device and can also prove to be fatal if used correctly. This method also looks less suspicious.

The nunchaku is basicaly two pieces of heavy hard material, usually wood, connected by an end to each other via a cord or chain. There are two main types of nunchaku: Long handles and short connection, and shorter handles with a longer connection. The later type is recommended as they can be used in vice inducing techniques, strangles, strikes, whips, etc.

The simplest method of construction is to take a hard wood broom stick and cut two peices each being approximately 7.5 inches long. Take two nails and remove the flat heads. Bend the nail to form a U shape. Now take a length of chain (preferably bike combination lock chain) and cut a peice approximately 7-8 inches long. Using the nails, attach one end of the chain to a flat end of one of the 'handles' and repeat for the other.

A fake wash off tattoo design can now be placed onto the nunchaku and should be varnished to fix.

There are many ways to make a blowpipe, the following is probably the simplest method. It can also be improvised in times of need very quickly and effectively.

Cut off the end of an old, or new, shoe lace - about 5-10mm from the hard plastic bit. The plastic bit must be on.

Get a pin and insert it up through the length of the end of shoe lace. from the cut end up and out the uncut/original end. Spread out the soft bit That is the dart. This can be improvised as follows: Take a pen and remove the insides.You have a the main body of the pen empty, this will be the blow pipe. Either use some of the above darts or, if there are none available, take a small piece of paper, roll it up so it will fit inside the pipe. This must be done in such a manner that the paper does'nt unroll when you let go. Push a pin through as before and the dart is complete. This can now be poisen tipped.

The principle of Nyudaki No Jitsu is used to take advantage of the psychological weakness of a target. Nyudaki is translated from the Japanese to mean "idleness" or a "dislike for being industrious." It is advisable to select your target carefully. Bear three things in mind when seeking to discover the shortcomings of an enemy: first, never look down on the enemy and underestimate him; second, never fear the enemy and act without confidence; and third, never hesitate. In attacking your target, two facets should be considered: he must be killed as quickly as possible, and he must make no outcry. It is preferable to remove a target when he will be least missed, such as shortly after post checks, or going off for something.

The following text will describe six basic assassination options: Slitting the throat, Kidney thrust, Subclavian artery thrust, jugular thrust, the heart thrust, the diaphragm thrust. In all cases, approach the target from behind to within three or four feet and assume a basic fighting stance, keeping low by bending the knees, holding the knife in the rear hand (right) while the lead arm (left) acts to seize and hold the enemy for the knife thrust. This will enable you to make a lightning strike by springing on him.

Spring forward and cup the enemy chin with the left palm, lifting it clear of the throat. Draw the blade across the throat at the level of the cricoid cartilage, begging at the hilt and stroking to the tip. This attack slices the trachea, preventing any sort of outcry; then cuts deeper, severing the carotid sheath. The target dies within twelve seconds due to oxygen starvation of the brain. Unconsciousness occurs in five seconds.

Spring forward, solidly whipping the left wrist into the enemy's trachea to prevent outcry. The effectiveness of this blow is easily demonstrated by tapping one's Adams apple with only one-twentieth of the force required. This action disrupts the phrenic nerve, causing the diaphragm to cease pumping air in and out of the lungs. Simultaneously drive the knife into the kidney horizontally. Cut to both sides by pushing and pulling the wrist side to side. Death results in thirty seconds and no help of man can prevent it.

Spring forward and clamp the left hand over the mouth and nose in the method known as the one hand smother. Pulling the nose between your thumb and the first joint of the opposing index finger. Grip the jaws between the heel of the hand and the remaining finger tips. This method alone will require almost two minutes to produce unconsciousness. Holding the knife in the ice-pick grip (Steven Seagal style), thrust the point well down behind the clavicle (collarbone) and cut side to side. Death will result in three seconds from severing the subclavian artery.

Spring forward and employ the one hand smother. Pull the enemy's head to the left and thrust the knife horizontally well into the leading edge of the sterno-cleio-mastoideus muscle running around the side of the neck. This severs the carotid sheath which contains the carotid artery, jugular vein, and vagus nerve. Cut side to side. Death ensures in twelve seconds, unconsciousness in five.

Spring forward, sliding your left arm over the enemy's right arm and up to clamp over his mouth from below. Bend him backwards, breaking his balance o the rear. Drive the knife slightly upward under the rib cage to penetrate the heart. Cut side to side. Death comes in three seconds, unconsciousness is induced instantly.

Spring forward, solidly whipping the left wrist into the enemy's trachea to prevent outcry. Pulling the enemy's head slightly left, reach around with the right hand and drive the knife at a 45 degree upward angle just below the rib cage. Cut side to side. This rips the diaphragm muscle preventing oxygen intake. Death results in twelve seconds, unconsciousness fairly instantly.

There are three basic methods of attacking from ambush; from above, below and behind. The initial attack must always be totally incapacitating, while catching the enemy off guard.

Begin by gaining a position above the enemy hiding in a superior position and wait for the enemy to come into range. Bare in mind that when being attacked from above people seldom look up, and they tend to shoot under the target when firing up. Fix your gaze at the back of the enemy skull.

Drop on the enemy, striking him with your full weight. Employ the knees to strike the shoulder blades and drive him straight down, breaking your own fall with his body. Try not to land directly on his head; though this frequently snaps[ps the neck, the body does not fall properly. Should the enemy hear or sense the attack and turn the technique will still succeed.

Ride the enemy body to the ground, crushing his spine beneath you. Apply the coup de grace by striking the base of the skull with the rear hand, breaking the neck.

When cover is scarce or low, consider attacking from below. Select a point of concealment above which the enemy will pass and from which you may launch your assault unseen. Hidden low beside a door is a good example.

As the enemy passes, cup his rear foot in the palm of your hand ( lead arm ), simultaneously poising the knife in the rear hand.

Scoop the enemy foot forward as he shifts his weight forward onto his lead foot, lifting it clear of the ground and breaking his balance to the rear. Cock the knife beside your ear that faces away from the enemy in an ice pick grip.

As the enemy falls beside you, landing on his shoulders. Pivot over your lead knee and drive the knife downward into his heart. It is essential that you sweep the enemy as he takes his weight off his rear foot. This prevents him from saving himself by taking a quick step forward.

Advance to a position behind the enemy, armed in this case with a garrote. This consists of a length of thin steel cable apx. two feet long. This could be substituted with a pair of nunchukas.

Wrap the ends of the cable around your fists and grip the central position with the thumbs.

Drop the garrote over the enemy's head and pull back with both hands, exerting sufficient pressure to force the enemy backward. His reaction will be to try to seize the garrote and relieve the pressure to his throat. This attack affects the trachea, preventing any outcry, as well as shutting off the blood supply to the brain through carotid artery.

Continue to exert choking pressure with the arms, crossing the fists behind the enemy neck. Drive the knee upward into the small of his back, breaking his spine. To finish him off, you can twist to your right, dropping him face down, and sit atop him on your knee until he ceases to struggle.

This is not a true strangle hold, but one in which the pressure of the forearm is directed against the windpipe. This hold is quite painful, causing the enemy to struggle more violently. This choke, however, will induce unconsciousness, usually if applied improperly.

Whip the left forearm around the enemy throat, striking him in the trachea with the inside edge of the wrist or hand. This action will cause him to inhale sharply. Continue the action until the crook of the left forearm/elbow lies against the injured trachea. The left bicep pressing the left side of the neck and the left forearm pressing the right side of the neck. Clamp the right fingertips behind the enemy skull with the fingertips behind his left ear. Grip your right bicep with your left palm. Relax the left arm pushing with the right palm. This is not a punishing hold to the enemy, since he could still breath if your throat strike had not damaged the phrenic nerve. Pressure is, instead, applied to the sides of the neck, specifically against the carotid artery. When the blood supply to the brain is cut off, unconsciousness results in five seconds. If the hold is improperly performed and only one artery is cut off it will take ten to fifteen.

The Tel Shia technique is useful should the enemy seek to escape by reaching behind to strike your groin. Extend the fingers of both hands forming the Shuto with each (spear hand/chop position), then step quickly back with the right leg pulling him down. This action will rip the skull from the spinal column resulting in instant death.

Inpo, the art of hiding, taught how to remain unseen to the enemy. Tonpo, likewise, teaches us how to vanish from the view of the enemy.

This method is employed when the enemy is poised in a wide stance, but has not yet advanced. Lower the body for better balance. Relax both wrists so the hands hang loosely with the backs to the enemy. Raise the hands, arms extended between you, aiming the back of the wrists at the enemy face. You must do this not so slowly that he reacts before you and not so fast that he ignores the movement. Watch your own hands- they will induce the enemy to do like wise. The idea is to focus his attention on your hands.

Step quickly forward, lowering the body still more. This will move the hands forward but, since the arms are not moving and the perspective is foreshortened, you will be upon him before he has chance to react. Flick the backs of your hands forward. He will flinch or blink.

Immediately as you flash or haze the enemy, drop straight down over the feet in a squatting position. The enemy will raise his guard and block you from view.

As you sink out of sight, and see the enemy lifting his guard, tuck your head into you chest, round the shoulders, and push off with both feet. Execute a forward roll as your hands touch the ground behind/to the side of him. This will enable you to vanish downward to a position ten feet away. Preferably roll into a pre-selected point of concealment.

This method is employed when the enemy attempts a low line attack, such as a leg dive or tackle.

The enemy steps forwards, dropping the shoulders and reaching for the knees. Effect a back-out step by slapping down onto his back and sliding both feet to the rear. This prevents the leg dive and stalls the enemy in a forward stance.

Push off with both hands and jump straight up spreading the legs. The combination of the enemy's forward momentum and your own spring will carry him under you. Some practitioners prefer to grip the head when vaulting, thus insuring that it remain low enough to prevent accidental groin injury.

Any type of Roman Horse vault will suffice to clear the enemy, depending on the agility of the practitioner and the depth of the enemy attack. In this way one vanishes upward to about three or five feet behind the enemy. Also you could execute a back kick as you land, then fall into a forward roll, carrying you into a pre-selected point of concealment. Therefore, covering more distance and obtaining a good hiding place.

This method requires an external distraction to be truly effective. Two methods are preferred, one being Kiai, the spirit shout. This is a belly shout drawn from the Hara. It is a scream of total commitment. Charge the enemy from out of range, feinting a ferocious attack to the eyes. This attack must be sufficiently terrifying to startle the enemy and make him cover his own eyes in defence.

"Sand in the eyes", is the second distraction which is used to temporarily blind the enemy. A handful of dirt will do nicely for this technique.

Cup the right palm lightly, keeping the dust concealed from the enemy. Swing the arm in a semi-circular arc, crossing from the right to left hip, up to the left shoulder, then back in front of the right shoulder. Abruptly stop the right palm in an extended shoulder block position, casting the powder into the face of the enemy. As you begin the casting movement, step forward with the left. this will give the impression that you are planning your escape in that direction.

As the enemy gropes forward into what he believes to be your position, duck under his attack to his lead side. In this way you will have less distance to get behind him. This is a variation of the spinning back pivot. Fix your attention on the left temple of the enemy. This is where you will strike him should he not have been blinded.

If you are close enough to the enemy, the action of casting will carry your extended fingertips horizontally across his eyes producing the desired effect.

Execute the second half of the lost track pivot, slipping by the enemy as his grasp closes on emptiness. You are now invisible behind his own left shoulder. Continue to target his left temple. You may now pivot into the final lost track pivot position and assume a stance behind the enemy, or dart behind cover to vanish, or simply flee.

At numerous times, the assasin will be confronted with a situation in which they will need to lie or bend the truth in order to preserve information. The best way to lie is to tell the truth. When asked if you've been smoking drugs in the house, answer 'yeah of course I have. And I throw the butt out the window so you wouldn't know'. This must said in a sarcastic manner. If they question you again, reply, 'Do you really think I have?' If asked again - 'If you think I did then I have already been convicted and whatever I say will not change your opinion'. This way you avoid the question. And because you are in fact telling the truth, you cannot get accussed of lying in the future if the subject comes to light again. However, it must be stressed that this method should never be used against authoritive figures such as the police. They will take everything at face value. The main points to be stressed are that the assasin, when wishing to keep the truth, should always act naturally, both in attitude and body posture. A lie can be detected when the subject becomes defensive. This can include a strong, demanding manner of speaking, and a defense body position such as crossing the arms. Eye contact should be kept at all times. However, if the subject is known to lack confidence and rarely make eye contact, this should not be invoked, the natural, daily manner should be adopted. Likewise, the eye contact should not be piercing and demanding itself. Simply just looking at the questioner will provide the desired result. The assasin should aim the point of eye contact between the eyes of the questioner. This provides the contact the questioner is looking for and reduces the ability of the questioner analyzing the subject as no direct eye contact is being giving. This method also provides a more relaxed state for the assasin.

Movement is also a give away to a lie. Fidgiting, rocking and playing with body parts, such as the fingers, face, hair, etc. Project a sense of nervouness which can also be connected to guilt. Having said this, the subject, by no means, should keep excessively still, or in a stiff posture. The assasin should remain calm, consciousless and relaxed at all times. This will aid in the natural flow of the answers rather than a nervous approach.

Many figues of authority will back up their own statements with false accounts in order to gain the truth. The subject should also back up the statements used. The closer to the truth they are the better they will work. The assasin should always approach the situation as though they are the only one involved in a particalar incident. If the questioner refers to 'statements' made by the assasins colleagues the assasin should disregard any of these statements as they are more often a fabrication in themselves. Likewise, any apparent 'witnesses' to the events should also be considerd fabrications. This is an attempt to instill doubt into the subjects mind, and once this has settled in the questioner can break it down to the truth. Another method used by authorative figures is to raise their voice, threat and otherwise instill fear into the subject. The assasin should remain calm and relax and dismiss any such approach. At no point should the assasin become irritated or loose control as this is the point at which mistakes, confusions and errors are made.

In order for the questioner to believe what the subject is saying, the subject must come across in a convincing, confident and believable manner. There must, however, be no cockyness projected at any time by the assasin. For this to be executed succesfully, the assasin must, also, believe what they are saying. This means that even when the questioner demands the subject is wrong, they must stand their ground and demand, in return, that they are right. As soon as the slightest amount of doubt falls on on either party, they have lost. If an awkward question is asked, the assasin must have the ability to improvise in a very short amount of time. This can often be aided by a slow answer explaining the difficulty in answering the question. This will provide the subject with more time in which to come up with the answer. Other aids in providing an answer to a difficult question can be by the use of objects in the room, these will provide cues to which the assasin can base the answer upon. The full recollection of events should complement each other. Extra points that were not mentioned before should not be added in at a latter date as this will project a sense of fabrication towards the questioner. The recollection should also never change. Changes in the 'story' can be easily picked up by most people who will then question that fact by cross-referencing it with previous statements. This will result in a poor reasoning, and cast alot of suspicion over the subject. A well used method is to base the fabrication on an actual event. This way the answers will be provided in a much clearer manner as the event truly took place and will help the assasin in providing a false account as the events took place in the assasins mind. Therefore, to the assasin, the statements are not in fact false.

Another well used method, for the purpose of fabrication, is to answer a question with a question. This may not be a direct question but an attempt to avoid answering the original question.

Above all, the subject must remain calm, relaxed and believe in what they are saying.

LIE DETECTOR TESTS When you are subjected to a lie detector, they are measuring your physical responses to psychological stimuli. It's something like watching you to see if you blush. There are four levels they can measure.

2. Your response when you are asked a question you would have no reason to lie about. "What is your name?"

3. Your response when asked a question they consider personal or embarrassing to most people. "Have you ever wondered what it would be like to have sex with your mother?" I think only the government would have enough nerve to actually do this.

How To Become An Assassin

by The Propagation