HIDING PLACES
Once the perimeter has been penetrated, one becomes concerned with invisibility inside the
camp. There are six basic positions which may be used to conceal your presence.
A position above the enemy is the first of these. As has been mentioned, most people look at
the horizon or scan their surroundings at eye level. The Ninja uses this propensity to his advantage.
Approaching the point of penetration across the rooftops is fairly safe so long as one
keeps low to avoid silhouetting. Further, one can flatten out on the roof and observe the enemy
camp.
There is an ancient legend of a Ninja who entered an enemy camp and penetrated the attic of
the enemy general. The Ninja drilled a tiny hole in the ceiling of the general’s bedroom, lowered
a thread through the opening, and dripped poison into the general’s mouth as he slept. Attics
are also excellent places to eavesdrop. Care must be taken to support one’s weight only on
the rafters, since many ceilings cannot support a person’s weight.
FIGS. 79 & 80-One can also hide below the enemy when wishing to gather intelligence by
eavesdropping. Examine dwellings for crawl spaces, air conditioning ducts, or cellars.Enter
where you will not be seen and move using the She Pu (Serpent Step) beneath the floor to a spot where the enemy can be overheard. Remember to cover the penetration by replacing any trap doors or grates which may have barred your path. Beware of being trapped above or below the enemy. When fleeing, never run to a position which will enable the enemy to tree you (trap you by surrounding the base of the tree) by surrounding your higher position.
Hiding below the enemy is the second method of concealment. When beneath the enemy, remember the tale of the Ninja who was speared through the loor by an alert guard when he noted an excessive amount of mosquito activity over the imprudent Ninja’s hidden position.Hiding beside cover is a third method which may be used. Regardless of the object which
you will employ, keep as low as possible. Look around cover to see the enemy. In this way
you will be concealed partially by the object’s shadow. When high visibility by the enemy
makes it necessary to actually be beside an object, select the side on which the deepest shadow
lies and conceal yourself within it, assuming the same shape.Hiding behind cover is the fourth technique. In selecting
this approach, bear in mind that you must assume the shape of the object. That is, you must not allow any part of your body to show and reveal your position. Shrubs, hedges, crates, stacked material, and so on, may be used for this purpose.
Keep the obstruction between yourself and the enemy. Hiding inside or between objects is another technique of concealment. The trick is to choose places a person is not expected to fit. The Ninja must possess great flexibility and the ability to remain utterly still. This is known as hiding like a quail. Hiding in front of cover is the boldest and most difficult of
these concealment methods. To accomplish this, one must select the object of concealment, position himself directly before
it, and assume its same shape. Lower the torso and slightly itense the Hara. Look directly ahead without fixing the eyes on
any one point. Relax the body.
camp. There are six basic positions which may be used to conceal your presence.
A position above the enemy is the first of these. As has been mentioned, most people look at
the horizon or scan their surroundings at eye level. The Ninja uses this propensity to his advantage.
Approaching the point of penetration across the rooftops is fairly safe so long as one
keeps low to avoid silhouetting. Further, one can flatten out on the roof and observe the enemy
camp.
There is an ancient legend of a Ninja who entered an enemy camp and penetrated the attic of
the enemy general. The Ninja drilled a tiny hole in the ceiling of the general’s bedroom, lowered
a thread through the opening, and dripped poison into the general’s mouth as he slept. Attics
are also excellent places to eavesdrop. Care must be taken to support one’s weight only on
the rafters, since many ceilings cannot support a person’s weight.
FIGS. 79 & 80-One can also hide below the enemy when wishing to gather intelligence by
eavesdropping. Examine dwellings for crawl spaces, air conditioning ducts, or cellars.Enter
where you will not be seen and move using the She Pu (Serpent Step) beneath the floor to a spot where the enemy can be overheard. Remember to cover the penetration by replacing any trap doors or grates which may have barred your path. Beware of being trapped above or below the enemy. When fleeing, never run to a position which will enable the enemy to tree you (trap you by surrounding the base of the tree) by surrounding your higher position.
Hiding below the enemy is the second method of concealment. When beneath the enemy, remember the tale of the Ninja who was speared through the loor by an alert guard when he noted an excessive amount of mosquito activity over the imprudent Ninja’s hidden position.Hiding beside cover is a third method which may be used. Regardless of the object which
you will employ, keep as low as possible. Look around cover to see the enemy. In this way
you will be concealed partially by the object’s shadow. When high visibility by the enemy
makes it necessary to actually be beside an object, select the side on which the deepest shadow
lies and conceal yourself within it, assuming the same shape.Hiding behind cover is the fourth technique. In selecting
this approach, bear in mind that you must assume the shape of the object. That is, you must not allow any part of your body to show and reveal your position. Shrubs, hedges, crates, stacked material, and so on, may be used for this purpose.
Keep the obstruction between yourself and the enemy. Hiding inside or between objects is another technique of concealment. The trick is to choose places a person is not expected to fit. The Ninja must possess great flexibility and the ability to remain utterly still. This is known as hiding like a quail. Hiding in front of cover is the boldest and most difficult of
these concealment methods. To accomplish this, one must select the object of concealment, position himself directly before
it, and assume its same shape. Lower the torso and slightly itense the Hara. Look directly ahead without fixing the eyes on
any one point. Relax the body.
Covert Entry
Studies have shown that eight out of ten burglars enter through doorways. This may be a
matter of habit or personal taste. Certainly, doorways are the most convenient means of ingress,
but do not be limited to these.
Door latches may be jimmied or picked; each method has its advantages and its drawbacks.
Hinge pins sometimes can be removed to allow entry, or panels can be cut out of the door itself.
Always listen at the doorjamb for any sound of movement from within before opening a door.
Upon entering, take a position behind the door and listen for sounds of discovery or pursuit.
Windows are the second easiest means of covert entry. Glass can be cut or pulled out of its
frame. It can be broken out by taping in a crisscross manner and then covering the point of impact
with a coat or jacket to muffle the sound. When employing this approach, be sure to remove
and conceal any jagged bits of glass from the frame. A window frame with no glass will
pass a cursory inspection, appearing to be a clear pane.
Air shafts can be used, but they generally have screens and filters which impede movement.
Cellars and crawl spaces can be employed, though it i-nay be necessary to cut through the floor.
And further, they do not make for quick escapes.
Some methods, such as tunneling or breaking out a wall, are considered too tedious for true
surreptitious entry.
matter of habit or personal taste. Certainly, doorways are the most convenient means of ingress,
but do not be limited to these.
Door latches may be jimmied or picked; each method has its advantages and its drawbacks.
Hinge pins sometimes can be removed to allow entry, or panels can be cut out of the door itself.
Always listen at the doorjamb for any sound of movement from within before opening a door.
Upon entering, take a position behind the door and listen for sounds of discovery or pursuit.
Windows are the second easiest means of covert entry. Glass can be cut or pulled out of its
frame. It can be broken out by taping in a crisscross manner and then covering the point of impact
with a coat or jacket to muffle the sound. When employing this approach, be sure to remove
and conceal any jagged bits of glass from the frame. A window frame with no glass will
pass a cursory inspection, appearing to be a clear pane.
Air shafts can be used, but they generally have screens and filters which impede movement.
Cellars and crawl spaces can be employed, though it i-nay be necessary to cut through the floor.
And further, they do not make for quick escapes.
Some methods, such as tunneling or breaking out a wall, are considered too tedious for true
surreptitious entry.
JU CH’UANG
(EnteringWindow)
Ju Chuang is a Ninjitsu technique concerned with entering by a window. Standing beside the wall side of the window, after compromising the latch or having determined that it is unlatched, open the aperture. Grip the top and bottom of the opening if possible; if not, grip both sides. Pull the body forward, extending one leg into the room. Shift weight forward, projecting
yourself inside. Place both hands inside, pushing yourself over the lead leg. Draw the trailing leg inside. Crouch beside
the window, then close it behind you. Remain motionless for a few seconds, listening for any sign that your passage
was observed.
yourself inside. Place both hands inside, pushing yourself over the lead leg. Draw the trailing leg inside. Crouch beside
the window, then close it behind you. Remain motionless for a few seconds, listening for any sign that your passage
was observed.
SO HAO TSUI (Lock-Picking Form)
When confronted by a locked door, recourse sometimes must be made to the art of So
Hao Tsui, or Lock-Picking Form. The ancient Ninja developed special tools for slipping the
latches of their enemies.
To employ such tools, one kneels at the door, adjusting height so that eyes are even with the
lock. In the case of modern manipulation, the turning wrench is held in the left hand, applied
with a slight pressure, while the pick is inserted and used to set the pin tumblers by the right.
This posture is preferable especially at night, since it offers some concealment. There is a
method known as raking, in which the pick is used in a rapid to-and-fro action to bounce the
tumblers free. While raking, one should stand and appear to be trying to make a proper key
work. This technique is often used by hotel burglars. If they are discovered, they can pretend
to be closing the door instead of opening it.
Hao Tsui, or Lock-Picking Form. The ancient Ninja developed special tools for slipping the
latches of their enemies.
To employ such tools, one kneels at the door, adjusting height so that eyes are even with the
lock. In the case of modern manipulation, the turning wrench is held in the left hand, applied
with a slight pressure, while the pick is inserted and used to set the pin tumblers by the right.
This posture is preferable especially at night, since it offers some concealment. There is a
method known as raking, in which the pick is used in a rapid to-and-fro action to bounce the
tumblers free. While raking, one should stand and appear to be trying to make a proper key
work. This technique is often used by hotel burglars. If they are discovered, they can pretend
to be closing the door instead of opening it.
NING SHIH LIEN (Peeking Through the Crack)
When encountering a door which is slightly ajar, approach the hinge side of the threshold,
reach across the door, and lightly grasp the latch. Scan the interior of the room beyond by looking
through the crack between the doorjamb and the door itself. You may slowly open or close
the door to allow more of the interior to come into view, bearing in mind that extremely slow
movement is not visible.
Never stand in front of a door even if it is closed, since doors are easily penetrated by gunfire.
Police use a variation of this position when preparing to enter a room occupied by armed
suspects.
reach across the door, and lightly grasp the latch. Scan the interior of the room beyond by looking
through the crack between the doorjamb and the door itself. You may slowly open or close
the door to allow more of the interior to come into view, bearing in mind that extremely slow
movement is not visible.
Never stand in front of a door even if it is closed, since doors are easily penetrated by gunfire.
Police use a variation of this position when preparing to enter a room occupied by armed
suspects.
JU MEN (Entering Door)
When confronted by a closed door, approach its latch side. Press your back to the wall next
to the jamb. Slowly open the latch using the right hand and peek inside through the aperture
thus provided. Place the left hand on the wall near the shoulder and be prepared to push off and
escape should you draw attention.
In all instances, listening at the doorjamb is equally as important as trying to see inside.
Ju Men Pu, the Entering Pivot of the Kuji Ashi, is used to enter a doorway without being observed.
At night, when you enter a lighted room, light will escape as the door is opened, revealing
your presence. If the interior is unlit, the shadow cast by the door, or its very movement
may give you away:
To overcome this, press the shoulder against the doorjamb, gripping the latch with the left
hand. Open the door quietly, inch by inch, and move slowly forward. Hold the cloak or hand
above the head, lightly touching the top of the door, to fill the newly formed opening.
Press into the opening, filling the gap and allowing no fight to escape. Step in and back with
the right foot first. Slide the hips in, then the shoulders. The head, the left foot, and lastly the
right hand are drawn inside. The right hand is lowered only after the door is closed from
within.
By this method, the door is opened only slightly, lessening the chance that the hinges will
creak, or that the movement of the door will betray you.
to the jamb. Slowly open the latch using the right hand and peek inside through the aperture
thus provided. Place the left hand on the wall near the shoulder and be prepared to push off and
escape should you draw attention.
In all instances, listening at the doorjamb is equally as important as trying to see inside.
Ju Men Pu, the Entering Pivot of the Kuji Ashi, is used to enter a doorway without being observed.
At night, when you enter a lighted room, light will escape as the door is opened, revealing
your presence. If the interior is unlit, the shadow cast by the door, or its very movement
may give you away:
To overcome this, press the shoulder against the doorjamb, gripping the latch with the left
hand. Open the door quietly, inch by inch, and move slowly forward. Hold the cloak or hand
above the head, lightly touching the top of the door, to fill the newly formed opening.
Press into the opening, filling the gap and allowing no fight to escape. Step in and back with
the right foot first. Slide the hips in, then the shoulders. The head, the left foot, and lastly the
right hand are drawn inside. The right hand is lowered only after the door is closed from
within.
By this method, the door is opened only slightly, lessening the chance that the hinges will
creak, or that the movement of the door will betray you.
LI TSU AN (Hiding in the door's Shadow)
Inside, if you hear the approach of a sentry, dart to a
position behind the door where you may utilize Li Tsu
An, or Hiding in the Door’s Shadow. The sentry may
pass outside without entering. The sentry may open
the door and look inside without entering.
Here you can see the sentry through the crack in the
doorjamb. He may be suspicious and enter. In this
event you will be blocked from view by the door. Or
the sentry may enter and search. Should this occur, remember
that if the door is opened at least ninety degrees,
sufficient shadow will be cast to conceal you. If
the door is opened farther, you will remain hidden behind
it.
The most difficult time occurs when the sentry has
entered and searched, and is preparing to leave. As he
nears the door he will be looking directly at you. At
this time great courage is required not to move and betray your position. The odds are that the
sentry will be at ease, having found no one in the room; he may drop his guard or lower his
weapon as an indication of this. He will be thinking of his exit, possibly berating himself for
his suspicions. Watch his eyes; if they are downcast, he will not see you. If the light switch is
near the door, he may shift his gaze to it as he nears you, and this will insure your invisibility.
If he sees you, you must spring upon him and silence him instantly. One school advocates
whipping around the door, slamming it and locking the sentry in behind you if discovered. But
this is not true Ninjitsu.
position behind the door where you may utilize Li Tsu
An, or Hiding in the Door’s Shadow. The sentry may
pass outside without entering. The sentry may open
the door and look inside without entering.
Here you can see the sentry through the crack in the
doorjamb. He may be suspicious and enter. In this
event you will be blocked from view by the door. Or
the sentry may enter and search. Should this occur, remember
that if the door is opened at least ninety degrees,
sufficient shadow will be cast to conceal you. If
the door is opened farther, you will remain hidden behind
it.
The most difficult time occurs when the sentry has
entered and searched, and is preparing to leave. As he
nears the door he will be looking directly at you. At
this time great courage is required not to move and betray your position. The odds are that the
sentry will be at ease, having found no one in the room; he may drop his guard or lower his
weapon as an indication of this. He will be thinking of his exit, possibly berating himself for
his suspicions. Watch his eyes; if they are downcast, he will not see you. If the light switch is
near the door, he may shift his gaze to it as he nears you, and this will insure your invisibility.
If he sees you, you must spring upon him and silence him instantly. One school advocates
whipping around the door, slamming it and locking the sentry in behind you if discovered. But
this is not true Ninjitsu.
KEN SUI SHAO PING
(Following in the footsteps of the Sentury)
Of course, the simplest and most daring technique of infiltrating the enemy encampment is
to have him open the door for you.
Having advanced to a position behind the enemy, fix your attention on the back of
his skull and key your actions to his. As he steps forward with his left foot, cross-step (Heng
Pu) behind with your right foot. Cock your left Backfist beside the right ear. Maintain a covered
stance at all times by crossing the right arm over the body. Direct the Qi forward with the
right palm.
You can strike the enemy sentry at any time when following him in this manner (Ken Sui
Shao Ping) by whipping out with the left Backfist, opening the hand at the moment of impact to
strike the base of his skull in an upward stroke with the sword edge of the hand (Shuto). The
impact of this blow must be sufficient to lift the skull free of the cervical vertebrae and sever
the spinal cord. Death is instantaneous. Continue to follow the sentry by this sequence. As the enemy steps forwardwith his right foot, step out with your left. This places you in a karate frontal stance, with your left side to the enemy. The arms remain as before; the left fist is tensed and will act as Mu-Te or Striking Hand, while the right hand shields the body. These
steps must be executed quickly and lightly; they also must be synchronized with the enemy’s steps so that he does not hear you.
The enemy has advanced to his objective. Cross-step behind once more, adjusting balance to keep your shape behind the enemy’s shoulders. When following in this manner, it does not matter if the enemy should sense your
presence and quickly move around to catch you. This is due to the time lag factor between seeing, identifying,
and acting.
to have him open the door for you.
Having advanced to a position behind the enemy, fix your attention on the back of
his skull and key your actions to his. As he steps forward with his left foot, cross-step (Heng
Pu) behind with your right foot. Cock your left Backfist beside the right ear. Maintain a covered
stance at all times by crossing the right arm over the body. Direct the Qi forward with the
right palm.
You can strike the enemy sentry at any time when following him in this manner (Ken Sui
Shao Ping) by whipping out with the left Backfist, opening the hand at the moment of impact to
strike the base of his skull in an upward stroke with the sword edge of the hand (Shuto). The
impact of this blow must be sufficient to lift the skull free of the cervical vertebrae and sever
the spinal cord. Death is instantaneous. Continue to follow the sentry by this sequence. As the enemy steps forwardwith his right foot, step out with your left. This places you in a karate frontal stance, with your left side to the enemy. The arms remain as before; the left fist is tensed and will act as Mu-Te or Striking Hand, while the right hand shields the body. These
steps must be executed quickly and lightly; they also must be synchronized with the enemy’s steps so that he does not hear you.
The enemy has advanced to his objective. Cross-step behind once more, adjusting balance to keep your shape behind the enemy’s shoulders. When following in this manner, it does not matter if the enemy should sense your
presence and quickly move around to catch you. This is due to the time lag factor between seeing, identifying,
and acting.