Master Hei Long
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Chapter One:
Manual Weapons
21 Techniques of Silent Killing by Master He i Long Copyright © 1989 by Master Hei Long
le,IIN () XnM5()8~1 SL,lt·, of America

Chapter Two:
The Spike

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1'111 ,h~,hnl r h P,ILuli!!

Chapter Three:

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The Knife


Chapter Four:
The Nunchaku 71 97

PALADIN, PALADIN 1'1.(1·>,',11,,1111. h"!',I' luad" Lk'lgn .. are trademarks belonging I" 1'.rL,dll, IlIlclJlIl'.r., jilld registered in United Slates Pall·1l1 ,111.1 I, ",lfllIllI k ()Jh~c. AIl rights reserved, Except for uxr '" ., " , lOW. Illl portion of tbis book may be reproduou III ,'IIY lonn without the express written permlsMlIlI 1,1 II ... I'uhlisher. Neither the author nor the publisher ~'~"IIW~ any responsibility for the use or misuse "r information contained in this book.

( 'oncluslon



The techniques comprising this work present methods of assassination requiring silence. dos(' '<>11(;11"1. .uid the intent to leave the scene without he iIII'. ;lpprdwrHled 1\11 the weapons herein are utilized manually, with 11111 body contact-the use of projectile weapons will 1I0t Iw dis cussed. In all these techniques, the assassin approaches all unsuspecting target and kills him with a single stroke. attracting as little attention as possible in the process. We show how an assassin attacks walking targets from the front. from the side. and from the rear. We will also show how he can attack seated targets from side and rear upproaches. If you flip through the chapters, you will notice that, with the exception of the techniques in Chapter Four. rMl'h sequence ends with the assassin leaving the scene of lilt" action while the victim is still falling to the floor. An i"Hdlssin's job is done when the target has expired. II is also an assassin's job to survive so he can continue hi 11M' his skills when they are needed. This requires that he 1'1 ill, locate his target. and neutralize him without being Uphlll'd. When he has completed his task, the assassin ,"Ullt 111111 and walk away without hesitating. He must look 1



Manual Weapons


does not go 10 a 10e>l1 retailer 10 make such a purchase simply because he may be remembered and later identified as having made the buy. From a legal standpoint. this could put a murder weapon in his hand. Due to the simplicity of making a spike, purchasing a substitute conxtuutcs unreasonable risk.

\ \


targets, a pencil with a sharpened tip would be of sufficient length and strength to get the job done, but it would be undependable for others.) The taper of the shaft should be from one and a half to two inches long and free of burrs or niches. The tip or the shah must be able to pass freely through clothing without catching on material and creating a drag on the thrustiuj; lorn' Burrs and niches will cause this drag and may rcdurrt the penetration of the weapon, so be sure the shaft and I he lip .11 ~tIIoot II. r The handle should h.. oLl'plu\llIEakly four inches in length, but may he IOlll',n ih (1IIdlll),. III IIH' :-.il:l' 01 the wielder's hand. A 11HI)'.llllih ~IIIP "",k,'~ tlu hr'.1 h.uidlc. This strip must be securely HIIl'huI 1'1 I In Ihe ..h.llt ,II the initial windings, and should cover III\' 11111111 ("lId (.1 the weapon, as illustrated in Figure 1.


FIgure 1

Figure 1 depicts a suitable spike for assassination purposes. Ideally, the spike's shaft should be ten inches long, round, and about as thick as a pencil. (Actually, for certain

Figur~ 2

and it is tapered evc nlv 10 .I I. The grip is applied to certain horizontal strokes and all downward strokes. This is made possible by the proper construction of the handle. The blade illustrated in Figure 4 would be approximately ten hwhrll in length. Figure 2 shows the first grip. The four fingers are clamped around the handle and the thumb is pressed against the shaft to stabilize it and prevent it from deviating to the side upon impact.lIld/ol a curved tip requires specific angles to make it cf tcct iv« within the focus of this book (silent killing techn iq lit' <. I Like any other weapon. with the weapon protruding from the bottom of the hand.t poinl on both sides. He should take extra care to properly fit the handle to his hand.6 21 TECHNIQUES OF SILENT KILUNG Monua! Weapons With / r~ I' . A knife that has a single cutting edg[O . use of the spike requires proper manual control. allowing for an extremely sharp point.) A II ex c cutioner is after full efficiency. A sloppily made handle Good fighting knives are light and. with the weapon protruding from the top of the hand. Blades come III a variety of sizes. The techniques utilizing the spike shown here require two types of grips. which is a good-size blade. and thus will make a tight grip difficult to maintain. The blades are made of surgical steel. The Knife Figure 4 shows a fighting kni!c Both sides of the blade are sharpened.10 miss a target with a knife that size. but a long blade is preferable. It should not be necessary to stress the importance of a firm grip on the weapon. ( I 1 Figure 4 Figure 3 Figure 3 shows the second type of grip. The length of Ihe user's fingers will determine the circumference of the handle. It would be 111". as a rule. Here the thumb is being used to bolster against the backthrust of the weapon when it contacts the target. loose wrappings win be difficult to control. have a molded handle (which is generally made of an aluminum Alloy) fused to the blade. and a knife with nm' side that is unable to cut is only half a knife. This grip is used for horizontal thrusts and rising thrusts. 1 I 1 I I .

but it didn't take long before half the youth .8 21 TECHNIQUES OF SILENT KIUJNG Mvmua! Weapons IUIIIIC. here we are going to consider it tm its lethal applications only. first became available to til(" A I Ill"! Figure 5 Figure 6 Figure 5 depicts a bottom grip.pun can come with studs.."IILIlIr. the courts consider uunchaku to be as deadly as firearms. Note that the thumb is wrapped around the handle. '1'1]('Nunchaku the nunchaku when iC:1Il public. and rrl:'am hon~ntal strokes... The We. The inside grip shown in Figure 6 is used in all upward strokes. and therefore his thumb should be wrapped around the handle for a secure grip rather than used as a pitch stabilizer. Iligure 7 shows a standard set of nunchaku.. unlike the grips applied to the spike. \Ul'I'UIHkd A great deal of mystiqur il. and round or .tilllilin weren't recognized by the authorities. It should go without saying that a knife that WIll be used for an assassination should be honed Mild stropped to razor sharpness. eventually outlawed the weapon. III III!" rountrv were carrying them around and flashing Ihelll 11"1" l. Though the weapon run be utilized as an efficient bone-crushing tool to Immobilize an opponent. 9 par~lel strokes (when a thrust is called for). A knife of this size requires all the wielder's strength on the handle to control it. According to a student III mine (a former federal prosecutor). a wide variety is now 6tvlulable. and thC'binding material between the sticks ranges from a single ft~llJn strand of four inches to ten inches of link chain. but since the wel~llOn became commercialized.y" I haw personally observed ten. as heavy as thirty-two eunces..rip. but many \Llll''. which is used in all downward vertical strokes and some horizontal strokes. passes and strikes with blinding speed and aCl'l1l . when I last looked. the weapon's potentially lethal ldp. They may be purchased in weights starting at ten uunccs and.11 y At first. grooved )'.Ullomll sticks. Overall lengths vary from ten to sixteen inches. .and twelve-year uld" PCIr.

14-ounce nylon-strung weapon with octagon-shaped sticks. Study these grips and experiment with them to get used ttl the fed of the nunchaku. The objecti ve is to crush the cervical vertebrae on one side and the trachea and larynx on the other.10 21 TECHNIQUES OF SILENT KILUNG Manual Weapons ]J \ . Given the way the nunchaku will be used in this text. The nunchaku can best be used in one way and in one place-in its compression capacity around the victim's neck. Depending on where the Mliliussin in relation to the target.. which is trapped at the upper end close to the rord. palms down. Figures 9. uf just how effective this weapon is when used as a """nession instrument against the anatomy of the neck. and 11 illustrate the various grips that will be used in the text (palms facing in. 10.-ure In put on your training partner in practice . the length of the cord joining the two sticks together should not exceed four inches. I' i I is a 14-inch. respectively). The low end of each stick is used as a lever to apply pressure to the front and back side •• 1' the neck. To give you a good understandin. A good choice Figure 8 shows the weapon clamped around the r ir cumference of a victim's neck. I I I I I I I Lj Figure 8 I. Ihl' xticks around your own neck and gently press them This experiment will also give you an idea of how pln. \ U Figure 7 I I . Fourteen inches of length and fourteen ounces of weight is sufficient to dismantle vulnerable parts of the human anatomy. and a nylon cord is preferable over a chain because the latter makes a lot of noise. and Olle' up/one down. he will use one of these is "lips in conjunction with the techniques discussed in ( 'huptcr Four.

thr opportunity to yell or call for help.l'. Immediately paralyzing the victim and rendering him unconscious.12 21 TECHNIQUES OF SILENT KIWNG Chapter Two l'he Spike Figure 10 To accomplish a silent kill.. making it impossible for the victim Itl y~1I Death will be so instantaneous that there will be 110 Figure 11 13 .ju"IY/. does not always hring death so quickly that the opponent does not at least tryout from the pain inflicted by the stroke. the impact of the attack will cause traumatic shock.P. Illhopes. A lethal blow. however. he (.\. Therefore. all .e the diaphragm. An assassin must also deal with the pain factor.\LIl IL1II\1 quuk ly cause the death of his target without 111111 11.(\"111)'. A strike to this part of the body will l. In most cases. It only takes one gasp of air expelled across the vocal cords to effect a yell loud enough to attract the attention of anyone within IItII~e of the sound.lke an unseen approach. he tuu \ I 11I. or at least an inconspicuous olle II lilt" target sees the assassin and is aware of his intentions. some help. ()ne of the prime anatomical areas to attack is the IillhNlel1lalnotch. likely to create a disturbance to attract attention and.

\' OF SilENT KlLUNG 'I 'h« Spike 15 ! I opportunity 10 r all 1111 help or ydl trom pain. will bruu. forcing air to pass through the vocal chamber \0 create sound. but "llIce there is a special purpose for this. There are two ways to deal with this problem. but without the guarantee that the victun will not have enough air in his lungs to cry out just helOll' he expires.Ii I . III Figure 14.. when a mouth ~nlb is required for a technique. Flgurt'13 Technique 1 Figure 12 Observe Figures 12 and 13. the temple and the heart. the target is seated in a relaxed positionIh. Typically. jU. dr ath vet y quick Iy. or he can cover the mouth so that any sound will be a muffled grunt that will most likely go unnoticed. The other two vital arcas WI' will diSCUSS. As long as the diaphragm is functional. I I I I 14 21 TECIINIQUF. The nfll contact with the target comes when the assassin . The assassin's grip should leave a bruise over the victim's mouth area. that grab will be Ithlcussed with the explanation of that technique.. All ultemate grab will be used in one of the techniques. pressing hard against the lips. it can he flexed."lUssin'sapproach is from directly behind him. Four of the seven techniques in this chapter will require the victim's mouth to be held momentarily. it will be in this fashion. During an assassination. the executioner can compress the esophagus and larynx so that no air can be expelled through the mouth. What is Important here is that the fingers form as tight a seal as possible over the entire mouth. He raises . Ult"JII his mouth to prevent him from yelling..

16 21 TECHNIQUES OF SILENT KILUNG The Spike I· I Figure 14 Figure 15 rhe spike as he takes this grip (Figure 15). This is /I. 'I IIh'l'tU'(lf{' movnrU'nt-the mouth grab and the turn 01 III' . Because tluvutim'x head may interfere with the stroke. as shown in Figure 16. the attacker 111111' his head to the side.

see Dragons Touch.) The heart will arrest on j[lll'<I( i The assassin may release his mouth as soon as he h. r----.18 21 TECHNIQUES OF SILENT KIlLING The Spike II) areas of the human anatomy. he 11110 Ihe victim's heart (Figure 17) by penctr.-/I Figure 16 head arc done simultaneously buries the knglh 01 the slllke With <I single hard thrust.ul able from Paladin Press.I'.u iug the lower center portion of the sternum.tv. completed the thrust. (For more detailed rulorrnauon on this and other vulnerable Figure 17 . .

It is now his obligation to avoid capture. Once he has brought the spike down through the sternum and into the heart. you will see that the assassin is walking away even before the target has completely fallen. Technique 2 I :1 II (\ / \ 'II II II II: I (L il Figure 19 Figure 20 Figure 18 I .20 21 TECHNIQUES OF SILENT KILLING The Spike 21 In Figure 18. his commitment has been fulfilled. He should leave immediately. I I .

he would not see a weapon in his hand. The final step toward the victim is quick and long.. He turns his head as shown in Figure 21-this will keep him from bending forward by extending the cervical vertebrae. The weapon is being held with a bottom grip and his wrist is bent so that the length of the spike lays against the underside of his forearm. and again with the target seated. but this time approaching him from the side (Figure 19). Brin~ing the weapon down in an I' " Figure 21 FIgure 23 Figure 22 . Notice that the spike is being held in such a way that if the target took notice of his executioner's approach. Again the assassin is going to go after the heart.II '/·he Spike . and it will also keep him from making eye contact with the weapon. with the right foot stepping behind the chair slightly. The assassin grabs the target's mouth at this time (Figure 20).L_' ) 22 21 TECHNIQUES OF SILENT KIUJNG .

the executioner penetrates the victim's sternum an. It is another vulnerable area that offers access to some of the most vital targets of the human body -the trachea and the major blood vessels of the upper heart.d lodges the shaft in his heart (Figure 22). Technique 3 Ii: Figure 24 Figure 25 . The anatomical target for this technique is the suprastemal notch. After the thrust IS completed. the attacker releases him immediately and walks.24 21 TECHNIQUES OF SILENT KILUNG The Spike 25 arc. away (Figure 23)_ His job is finished.

26 21 TECHNIQUES OF SILENT KlUING The Spike l ! Figure 26 Ii I ! The assassin approaches a seated target from the rear. this is done immediately upon contact with the mouth -it is not a two-part movement. As always. The spike is to he thrust down into this depression (Figure 27). As with the last technique. . This is the suprasternal notch and the penetration point for this technique. as depicted in Figure 24. the attacker makes his way to the door or exit route before the target falls com plclcly to the ground (Figure 2X). He turns the victim's head to the side (Figure 26). At the base of the neck. He covers his mouth and raises the weapon for the strike (Figure 25). there is a slight depression at the lop of the sternum where the collarbones come together.

the initial penetration is straight up and down. This side-to-side movement is executed at impact. tearing the aorta and superior vena cava and expediting the death of the victim. FIgure 30 .) ! \ Figure 29 Figure 28 As depicted in Figure 29. / \. Now observe Figures 30 and 31.28 21 TECHNIQUES OF SILENT KIWNG rhe Spike 21.

and death. The victim will have expired before he hits the floor.. Aguin.:' \ Technique 4 i I In this technique. . the target is shown walking. A strike here will result in penetration of the brain. the attackcr grips his mouth while simultaneously drawing the strike. as shown in Figure 33. The assassin's approach is from the rear. In Figure 32.: . He pushes the body back and out of his path as he walks away (Figure 35).30 21TECHNIQUESOF~LENTKILLING The Spike 31 . He pulls the target's head back toward him and. . buries the length of the spike into his temple (Figure 34). with a circular horizontal stroke. 10 prevent the possibility of the target crying out. . . the point of impact is the victim's temple. hemorrhaging. Flgun J2 .

32 21 TECHNIQUES OF SILENT KIlliNG The Spike 33 Figure 33 Figure 34 Figure 35 .

Figure 36 illustrates the surface location of the substernal notch. Figure 38 . the substernal notch. What he is actually doing with this stroke is piercing the heart without having to pass through the sternum. resulting in the inability of the target to cry out in any way. He avoids the need for a hard thrust to pass through the cartilaginous structure by reaching under it.34 21 TECHNIQUES OF SILENT KIUlNG 'I'Iw Spike 35 Technique 5 For the last three techniques in this chapter. j' I. His death will follow instantaneously. His thrust must be on an acute angle. as the weapon will penetrate the length of his heart from its bottom side. When the attacker strikes this area. as shown in Figures 37 and 38. the assassin hits what IS probably the best choice of targets on the human anatomy for silent killing. A thrust into this area will accomplish instant paralysis of the diaphragm. angle and impact are critical.

that his fist makes hard contact with the sternum's surface area..1 he hl'!'.1'.. Right from Iht' dLIWIIl~'. he thrusts the weapon into the . he is still walking. You will note that the "pike i" ru n ill his hand at this pointit is in his right rear pocket 111'.ivc forced air through the vocal cavity himself.. which might enable him to yell.I II ..substemal notch..36 21 TF:CIINIQUES OF SILENT KILUNG thr Splke 37 .ilk III~ his motion is continuous through the impact of the 1111 . he reaches back and d. he will force the air in the diaphragm through the vktilll's mouth. pO"II. The executioner never stops w. however. lilt •• the heart. . If he doe" not make hard contact with the target's chest.ins to pass his as target.> 1111" weapoll lrom his pocket (Figure 40).. the assassin approaches the target head-on. dcpllh'd III I 'igure 41. resulting in a silent kill. The objective lor a silent kill (via the paralysis caused by penetrating thr diaphragm) will be neutralized because the attacker will h.. 1 As the target falls to the ground. ~/ Figure 40 Figure 41 In Figure 39.aw.. II('VCI having broken his stride (Figure 42). the diaphrarr» will ht" paralyzed on impact and the spike will freely 1'. Figure 39 III .1: lf the assassin's thrust is so strong.

! [11'.1...r"! I I. not turn toward him until the last possible moment When the target has reached the proper prox.!. the all. This technique W()U If! 11111\1 .. III it wldr ('orridor.1 ITILUII hllw . TIH" a\\a.ro. This is an in-progress thrust.lill area .lhk hahn of walking IhIlHI~h" (l'II.llla' ~I. and he does '.~ F1a:ure42 II Technique 6 The next technique is simple and quick.38 21 TECHNIQUES OF SILENT KILUNG The Spike 3<) The executioner spots the victim's approach with his peripheral vision (Figure 43). !I.I' J. in .I .. .wly uu rvr illin thut lurn III lilt' corridor as I' I Ill' .I"...11111111.tpl'llIl'riatdy be used when the target has a prl'di(1. III !l.uld t.11 ..r fllllUY. he turns to his right with a short step and thrusts the spike into the substernal notch (Figure 44).land i1~ainst that wall If III" HIIF'."I '.(' tn II wall. he will tH. rather.' cOllling at the assassin.WI! Ihr rill. He does not look in the direction from which the victim is approaching..approaching the victim.n will i not be. IIC . [hr .imity. .h til ItItt'HTI'I him..' &lilY II he usually pa". ..IIIIuld ~I.

1.. { I I ..t"Ij. step.ulll! hi . sequential motion. 11 IllId Ih1)l1wlIP11 1111111 hr 11111<'11 the target 111111\6.ivr nvct /\ 111. the assassin will be using a mouth grab with a thumb pressure technique to expose the target to a clean stroke.HIIlill'" u'' _ illll'lIlh'lIh )~' Figure 46 Figure 47 HIIII .. and thrust arc all done in one smooth. He should continue walking directly to the door Technique 7 In this final sequence. :..:lllll·. could be ill hi'll wlnlr IIf f' ~~I Ihlll h'lllIlItjue and w] . Ilk . 4.\ / ) " I I : I ( I ..I I '1 I.lv 4'l) h.II (Figure louk III".I 1:1 I' I I Figure 44 that Ill" had ptn.111'ul III!' .II 1 1 40 21 TECHNIQUES OF SILENT KIWNG The Spike 4/ other words. IIphl III. once the assassin has begun to move. \ lint . his pivot."\4'11 lolilllwd !ltI Il'iillM IPi hliio ('!!.u w It I(' ''1''~'c "lit kltll1.

In Figure rail'll 'Illil 11]1< iI~.. here Iht' . P' '\il il Illrd ~liHlilly h fit . He thrusts the spike into the substernal notch..Id..nssin I . II .IIY Inl huu til perform the I initial gnp on Iw... as depicted in Figure 49.. so the larget will try to pull away from the pain.' NIII!< 11.11 HIIII~f' Technique 2.. is approaching frnIH 111'.l't Ihi. He lays the four fingers of hi . He then releases him and Immediately walks away (Figure 50).. [ront of the seated (. / tr .t t.uul .. llrl n .\It..11'~('I I~ .. . I..42 21 TECHNIQUES OF SILENT KILUNG HI(' Spike 43 C1 c:f' . till' ~ target's mouth and firmly presses hl'o thuruh lIlldt'1 his chin (Figure 47).') ( \\ \\ \\ \ ( l~ ) ( i i Figure 48 .ur« .. the 1. This is a sensitive area. IIHluth 46.u IU"I I'..kll '. the assassin pushes in the same direction the victim is pulling and draws the weapon (Figure 48).. As he docs.ht h. IIF..

with a powerful thrust. Stop the flow of blood to the brain and the body will cease to receive cerebro-ruural instructions..\IId.Lr~~el from the rear. and the flow of blood throughout the body. This is a very painful strike. neural contact between the brain and the involuntary muscles. He pulls the target's head to his right shoulder and. I.. so the attacker must be sure that his grip over the victim's mouth is done properly so he cannot cry out He . The heart will stop functioning and the 1.!amlard grip described in Chapter Two (Figure 52). lefl hand." the body requires respiratory function.. covers the target's mouth with the . hi. the executioner apl'llw heo. with h .'I' In Figure 51. especially t() the brain.2 Figure 53 I Ii! "1':111 . buries the blade in his right kidney (Figure 53). also be fatal. but this.. To maintain the stale or "Ide.46 21 TECHNIQUFSOF SIU~Nr KIWNG 100.lIgl'l will die. He moves in quickly .. Technique 8 Flgul"t' .. lhr Knife 4/ is not a guaranteed quick kill.

i ." Knife holds the mouth for a count of three... Technique 9 In this sequence.48 21 TECHNIQUES OF SILENT KIWNG . pushes the target out of his way. i I: [/ Figure 54 "'Igure 55 . I: I. the assassin is going after the kidney again. II :.1 j: !~ . and continues walking toward his predetermined exit (Figure 54). but rather than catch up to the target from behind. he attacks him while he is passing by.

IW'1 III.cl I'ilIUICS.' .111 alri! where he knows the target must pass by. . Just as the 1.Ill 11\1\ till' "lllk Illh Ilw I<lq.. and calmly walks to his exit (Figure 58).II1IPllll~ hi~ mouth and pulling his head hack I Ie Ihen .untuins his grip until that danger has passed. Because of the intense pain inherent with a kidney thrust. IIIIIL III 111.lllIu" (I 1. lIidlkll behind his back at his waistline. . "uHf' ill preparation [01 Iht" '.. the attacker reaches in front or him. 114.IIIOIl 101 a count of h I I Figure 58 \ III . so it is important that the assassin m.'.' old .(.50 21 TECHNIQUES OF SILENT KILLING The Knife 'i I three. he . releases the knife and the grip on the victim's mouth.. it is mentioned that the target's mouth should be held for a three count.I ("'"1111111111'.\ PO!-. II.'. In this and the previous technique.l. the assassin is standing ill .. too quick a release may allow the target's yell to be heard. The knife I'. I' I I I Figure 56 1"1 I i: .1 '" I 1: 1 I ' II I :1:1 :I I I I III I II!'I In Figure 55. u-urward pull.IIIe . 1.lIn' )7. ~ lr lt "Idllry" a~ shown in l'II'..11.1'.

....~ Figure 60 .'d Technique 10 r"..I 52 21 TECHNIQUE)' OF SILENT KILLING The Knife .

54 21 TECHNIQUES OF SILENT KILLING The Knife r i I I / (- Figure 62 .

56 21 TECHNIQUES OF S"JENT KILLING The Knife 57 Anatomical targets and locations are changing for this sequence. He pulls the target's head back to hi-. and 66). The target area is the heart. In Figure 59.11gel. k-It side. As with previous techniques. I . This pulls the victim off balance as well :IS prr-vcntx him from yelling upon impact of the thrust. With the target's head tucked against his abdomen. the assassin has moved in behind his target and is following him down a staircase. pressing it against his left pectoral muscle and shoulder (I :igure 61).ut. he is attempting to pt:lll'tt :Itc a strong cartilaginous structure. I le pushes the target off his left side and continues down the staircase. hut III this sequence the target is seated. '. IIIlS turn of the head is accomplished with the initial grah -they are not two separate movements.altarkn draws his weapon and is ready for a quick gr<lh oil till' 1II01lih Wigurc 64). When he makes contact. as depicted in Figure 63. and this hit will be pulled on a staircase. Tilt' . I I ' - Technique 11 Again the executioner approaches the target from the rear and attacks the heart..(. Remember. ilu.ukvr sbms the point of the blade through the sternum alii I illin Ihe heart (Figure 62). so he must use maximum force. When close enough to his 1. He takes a quick step down to close the gap between them and clamps the victim's mouth while raising his knife (Figure 60). the assassin thrusts the knife through the I-II!'" . he tWist" tlu' vutllll'S head to the side and raises his knife for the IILllIsl (Figures 6_C.

Without hesitating. I' I r I) \ l! " I Figure 66 Figure 64 I I I r . I . he turns away and walks toward his exit point (Figure 68)..I 58 21 TECHNIQUES OF SILENT KILLING The Knife 59 sternum and into the heart (Figure 67). i.

The .u k. ! II I I 1:1 I (\ Flgure 68 ~ /\0 ("1\ I' I . quick. The technique is simple.1<1.111. the assassin should continue walking up the stairs at his normal pace and should not look hack (Figure 71).1 'I I . ..1'1 should leave the weapon hand behind Ill . and deadl y For this technique... the . (I Itt"lf" (lin.H J. he couldn't anticipate the attack..I Technique 12 In this sequence.. As he is falling down the stairs.'''~. trulc up the stairs. approaching the target from a vv I Y II aturaI direction for this type of attack-coming up .. 1l..60 " i 21 TECHNIQUES OF SILENT KIlllNG The Knife 61 I '1:11 I I' i ' I'! I .L . or it can he huklcn under a loose-fitting jacket.cl.tI ""(( II II Irllte H~ILlI'70 IU. The executioner should never have to break hi .II iI .. As he approacbcs lilt" ''''1I.I''''111 111111\1\ IIIe IUlllr al lUI upward angle into the subsll'IlI. he reaches back and draws the knife.. taircase.1"'.h 1041111 Ip 1'. II Iw were allowing the target {~n()lI)'. the weapon ~h"u III be sheathed point-up under the assassin's shirt (whu II would not be tucked into his pants)..... the substernal notch. As he passes. With practice. the assassin att. . the movement can be SIIH xuhed out to look so natural that even if the target were looking right at the assassin.

lnl 11m \1+qll{. unlike the thumb-down clamp technique in Chapter Two.Ifl'a notch The atLllkn side. With a powerful downward thrust.\ is the suprasternal seated target from his left The targel . The damp on the victim's mouth is thumb-down this time.IIl'C .! J t 62 21 TECHNIQUES OF SILENT KlLUNG The Knife 63 Figure 73 Figure 71 Technique ! I 1. the assassin approaches the vuruu wuh the weapon drawn and hidden in his left hand. He should simply keep a firm grip over the target's mouth and pull his head back to expose the suprasternal notch (Figure 73). the assassin buries the length of .I In Figure 72. iI is not necessary to put pressure under the chin. but.lppllliH lin .

64 21 TECHNIQUES OF SILENT KILUNG The Knife 65 III I' I II the blade into the suprasternal notch. 'Vr'IIII'III. \1'41 IW II!. 111. He releases the mouth grip and walks directly away from the target (Figure 75). 1111111 . alt. he places the cutting edge of the blade against the I ( ) I Figure 74 I 1n I hi-.111.. '11 111.I I. . ttl I hill'IFI Ihrcr . ill I i II I i~ ' . He brings the knife close to the victim's head as he clasps his hand over his mouth (Figure 77). I he assassin k. 1\\'1' v uul illr'!!" 4 Ill."11' . the assassin approaches a seated target from the rear with his weapon drawn.111..1 OILr . Rotating the target's head fully to the right. as shown in Figure 74.. I As shown in Figure 76. .kr 1111.uIII '1I1k III the neck-with Figure 76 "1111.ll ..

and right side of the neck while rotating the head in the opposite direction. The first and most important point is that this attack is likely to spray blood in a ISO-degree radius for about four feet. lie releases the victim. front. Needless to say.. as shown in Figure 79. drops the knife. the assassin is going to get blood on both his hands (at the very least). I I I I 'i ! I Figun" I FiguTt· 7K . This technique raises two important points. and walks toward his predetermined exit (Figure X[I). He presses the knife hard against the neck and drags the cutting edge of the blade across the left side.I 66 21 TECHNIQUES OF SILENT KILLING The Knife 67 left side of his neck (Figure 78).

If he does not. I Figure 80 .68 21 TECHNIQUES OF SILENT KIWNG The Knife 69 Second. Steel leaves a residue on the skin that can be Flgurr 7" . then he must not carry the weapon with him -he should drop it as he leaves. you will notice that the weapon has always been left lodged in the target as the executioner exited the area. unless he were to I Iii '. . I ! II !I Ii: I I I . if you Jook back at every previous technique in this book.1: I add a second puncturing stroke. This is not the case with this technique.

it would be enough evidence for any court in the world to find him guilty of murder. a htwl <.! .70 21TECHNIQUESOFSILENTKlLUNG identified by forensic techniques. I'. If the assassin were to be captured with the weapon. " :i The Nunchaku II II:I .! ~ Chapter Four i. He must not carry the weapon with him! !i . u I II II.tudy or grips and releases is needed. ' . Figure 81 Figure 82 71 . i Before discussing the tnhllHal appliLllions of the nunchaku for silent killing.

hll iq lif' Iral lal)'. WhL'1I the .\·I' . and consequently a different release will be required.tick strikes your hand (Figure 89). The swinging slick will P. In Figure 90. It is not necessary to hold a stick in each hand in order to wrap it around an opponent's neck. close your hand around the stick and turn y"u. Note that with this release. start a "Wlllglll~ the stick:-. Opcn the receiving hand palm down.. in certain cases. away from the cord. Maintain a tight grip on the other stick by grasping it in the deep pocket between your thumb and the first knuckle of the index finger. hgllfc 90 illustrates the final position of the nunchaku around the target's neck.I"\ along . it is the preferred method to get the weapon into position.III). It is every bit as fast as two-handed techniques and. When the stick circles the target's neck. clamp your fingers firmly around the end (Figure 83). as shown in Figure 85.. Here the thumb is toward the outside of the stick. YO"I lillie. This turning ol tin' p. Notice that the sticks are gripped at the wide ends. When you kcl II\(" contact. grasp it firmly. . the thumb rcxt-. oil tlie 1II\llk of the stick. '11l1'.l\cd. around a With the slicks held parallel to movement with the arm and will HC\ release the outer stick by opening the fingers (Figure 82). For the moment. To get to the position depicted in Figure 87~you again must initiate a centrifugal-force motion by swinging your arm in a parallel plane with the floor.!. As the outer stick swings around to the other hand. one palm faces up and the other down. we arc concerned wuh how tlH' \ti(k '" Il'k. at the same time SqUCl~/.lrgcl '" lin k ("Lt:IIIC XX).72 21 TECHNIQUES OF SILENT KIlliNG. ILl thi" chaptn. palm upward. Now look at Figure 86.JI]I' 1111l"w 111 II h011l If. open the receiving hand wide and kl if strike the palm of your hand (Figure 84). Determining which grip to utilize when performing a silent kill technique is a matter of .he Illldnsidl" of your ann on its way around the li. The sticks can be swung into position with an accurate swing and catch. link tlw the floor. Open the thumb and allow the outside stick to move with the centrifugal force YOII l'reated with your arm movement. both palms are down.il tu will clarify itself when you begin studying (ill: tl'lIIllHPll".l'I" 1o hold the inner stick. The Nunchaku 73 Observe Figure 81. In Figure 85.

he lllu\1 practice both repeatedly until he can perform them bhudlolded at lightning speed. and their differences will be pointed out as each grip is used ill the techniques in this chapter.74 I. He should practice around a pI. -lc or similar object to simulate going around a neck and completing the compression movement. . I' 21 TECHNIQUES OF SILENT KILLING The N unchaku 75 personal preference and comfort for the assassin. They are each equally effective. Figure 8S i I ! l I ! Figure 87 Regardless 01 which release and catch the assassin prefers.

the victim wi 11 III I! be able to yell. they are no less deadly. however. will demonstrate for themselves . His trachea and esophagus will be Ill'.hlly compressed. . During this time. · 'I' When the [1\'i" is compressed with .76 I: 21 TECHNIQUES OF SILENT KILLING The Nunchaku 77 his own arms rigid. He leans forward as far as necessary and slips the weapon over the target's head (Figure 92). several physiological effects will be cvidr nt. the assassin should train himself to hold l'lj. It takes about ten seconds to completely incapacitate a target using the strangling method illustrated in this sequence.I I Figure 89 Figure 90 { I' \ \ I Tcr hnique 15 The first few techniques are simple ones that do not require a release..1 uuuch.. the cartilaginous rin). As soon as the sticks are in line with his neck.:u . he may very well go into a traumatic state of fear and attempt 10 struggle loose. Secondly. As they. which will (If puncture holes ill the windpipe and cause irreparable . the attacker step'> hack slightly and compresses them together as hard as he ran (Figure 93). First. In anticipation of this. Figure 91 shows the assassin approaching his target from the right side using a double palm-in grip on the nunchaku.ik 1I in this fashion. The position they are in at the moment he applies pressure is the distance at which they should remain until he drops the Slicks and leaves the scene.'> the trachea will be broken. so no air and thus no sound will be ahlr til pass through his mouth.

Once full-power compression has been applied. Figure 94 shows the assassin approaching the targ('1 from the rear. In addition. Blood will immediately begin to flow into the lungs and stomach. Blood pressure will soon drop below the life-sustaining level because of the massive hemorrhaging. When this happens. c Io'igure 93 This technique 1\ abo performed wuhoui a release. . These effects will accompany all compression techniques with the nunchaku. the assassin will feel a vibration in the sticks and hear a high-pitched crack followed by multiple deep thuds when the cervical vertebrae separate. the cervical vertebrae will break. The attacker reaches over the target's head and aligns the lead stick to press across the front of his neck (I -igure 96). as further illustrated in Figure 95. and it utilizes a double palm-down grip during cOlllpn·\sioll.78 21 TECHNIQUES OF SILENT KILLING The Nunchaku 79 damage. there is no chance of the target surviving. Note Ikll the sticks form a 90-degree angle.

l nllC hul of the most unorthodox applications II WOI ks so well under the right tllI'nl i( III tit W . of course.lspsthe sticks over the 1. This should be done as he passes the ear. Thl' attacker then raises his k nee and places it on the back of the viet i In'S neck (Figure 101). Figure 97 Technlque 17 This is prnbnhlv of the nuuchak u.11'1'1 !Jat hl'S H Sl'.ll('" till gel (Pigure 98) with his hands firmly holding hoth stich togelher. This will not happen. To achieve this position. after slipping the sticks over the target's head. lk :-. but practice will enable him to perform this movement quickly and smoothly.Igains! his neck (Figure 100).80 21 TECHNIQUES OF SILENT KILLING The Nunchaku 81 The assassin started this technique with one palm facing in (Figures 94 and 95). Figure 94 The axsassi 11 . Figure 97 shows him now using a double palm-down compression technique. Using arm and lower-back power. as illustrated in Figure 99.lIgel'\ head and locks them up . the attacker rotates the stick between his index and middle finger as he is on the way down to the clamping area of the neck. It will be difficult at first. . circumstances til. he shouldtry to pull the sticks clean through the target's neck until they hit his kneecap.111.1111'.

The executioner 1~ ~laIIOII.1 II but in this position.ukcr reaches out to the side and initiates the swing 10 hlin}~ IIH' xtirk x . he can use his lower back muscles to increase the overall pressure against the target's neck. the .. I: This technique will challenge the assassin's skills. h("cutchcs it. .m uuu] his neck. ldl hand to catch the incoming stick (Figurc 10-1) At.82 21 TECHNIQUES OF SILENT KILLING The Nunchaku I I 'I . he spreads his stance slightly in piepOlLI11I III for the initial struggle (Figure 105). I i I !i I 1 Ii II c. We will illustrate all illside rdease and a double palm-in grip during compression.. An assassin should only use this technique when his target is seated. Turning both palms inward. The victim's shoulders have to be blocked against the back of the bench or he might be able to roll to the side (even by accident) and the assassin would lose his grip on his neck. 1·11 I I Technique 18 Figure 99 Figure 101 Figure 98 i. At the last possible monu-ut he nlclHh III'. · depicted in Figure 1O"~.1I y as Ihe target approaches from his right side (hl~lln Ill}) As he gets to the point . Ihe au. giving the compression tremendous power.

i . keeping his arms nl~lIl .u the elbows and shoulders. II ( Figure 102 assassin squeezes the nunchak n ICJ~:cI'H't with full power (Figure 106).84 21TECHNIQUESOF~LENTKlLUNG The Nunchuku 85 . Ten seconds of full-power (( Impression will be sufficient to kill the target .

.ill1 . As a rule. '.urcmpt to a get away 1111 u kw seconds.'11111'. hUI It will he a hucl slruggle. The assassin should expert 1111\ rruction and maintain maximum pressure while keeping III~ allllS rigid.II". pl..I I Il' I" hold the arms rigid while applying rllllcllflll'lI"'.110. 111\ 1"('1. Again.uuicipate a brief struggle (Figure 116).11 III (' and experience sh?uld help the JSSilSSLIl Judge the 11IIIpn distance between himself and the very well 111. the au. the assassin approaches the ~get from the rear while he is walking.(' dc\pt'l ale . ) Technique 19 In this sequence.IIII' I HII lit' cLunps down firmly. II I~ hdd at the target's right side.I' . he doses the gap while swinging the slick oul and around the victim's neck (Figure 108). The assassin brings his IIghl hand across his body to his left shoulder and srls thr hll '~iI'.« 1. Noll' the position of the stick and the right hand in Figure IO!). ! \ I .. \ Figure lOS Figure 106 I /\ 1 . The v II 11111 1IIi1 Y .86 21 TECHNIQUES OF SILENT KILUNG The Nunchaku 87 target (Figure 107) At the last moment. us shown in Figure 111. Ill' will use an outside release with a double palm dowil llllllplcssion technique.II I" '\\TI I . hr Will lise one or both hands to try to pull the sticks off IWi lin k .11111'. while the loose stick is caught In the left of the target's head. tick across the front of the target's neck (Fi)'.1 hr '.['1 . I It.

88 21 TECHNIQUES OF SILENT KILLING The Nunchaku 89 Terhnlque 20 the assassin used an outside '>llJl'tI'. In this Sl"qI 1("IIlT. hr lI~CS an inside release and applies . I • I ~ I i l'igure 108 '\ I 1\ . ( approach . I . held for an inside release.". but noll' gap with a quul<. I .Il'p and swings the weapon out and over Figure 110 . .1\ III th c previous nunchaku Figure 111 thai the hnll~. Ihe same \.cqllC"l lit' ...~ion with a double palm-down grip.huws l'xn 1l110llCI USlllf. He closes the technique.. . ~ In the prl:VIOII~ release and al'plled a one-up and 0111' tl4 mil 4 «mprcxsion technique. I.I II Figure 109 1/ I till' \/ Figult' I I I" I'. I " ..

In Ihi..1'1.S his kit hand to the right side of his body to complete the movement and clamps the stich together with the grl'utest possible force (Figure 120). As he twists the palm of his receiving hand.lIId 111 0111 uucrcepting PO'>'IIIIII (I1)!.III k Itilvrls to the opposite side of Ihl' t. the left palm is facing up. the " . he dose'. from Ihe palm tit 1III."ill rral'ill's for it by placing his h. lus hand..d II'''' I' ~nlll{'lIrc. Catching the stick slightly above shoulder height. Note that unlike the previous technique..urr 11 H). he brings it 10 the right side of his body and clamps the sticks together (Figure 115). the assassin immediately twists his palm upward (Figure 114).-.lIIt" 119)... . the assassin approaches his target tk liM'S IllIpirMilClII In .1'W'I'!. He then (fltSS... ho(ly. When the stick sllikn...90 21 TECHNIQUES OF SILENT KILLING The Nunchaku 91 the target's shoulder toward the opposite side of his body (Figure 113).d the distance between him and hiS 1"111.. Figure 113 Figure 114 Whr n liIe Ilfrill kn hat< I lo~ . hr .wn an inside release and a palm-up/ hn iq lit"."~n Ihr "Iil ks ill preparation for the swillg (hKlllr 117) Ali Ihe . II awl turns his palm upward (h.

.. He must keep his arms rigidly extended during this and all compression techniques with the uuurhuku.. the assassin should be prepared for a brief struggle (Figure 121). FlJ. 92 21TECHNIQUESOF~LENTKILUNG TheNunchaku 93 I~ () Figure 117 Again.:un· 11K ..

94 21 TECHNIQUES OF SILENT KILLING The Nunchaku 95 v Figure 110 .

97 .96 21 TECHNIQUES OF SILENT KILLING Conclusion The techniques in this book have been designed for a single purpose-execution. If the assassin does not intend to k 111 his target. he should use techniques from another text. and they will kill and nothing less. They are designed to kill. These arc not self-defense maneuvers. An assassin should not usc [hem with any preconcei ved notion that they wi 11 s i III ply s 1() ran aggressor.

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