The Sicarii

[Peridan]

A tome bound in plain leather, with no distinguishable features on the cover. It's pages detail different types of tobacco. However, when a soft word is spoken, the pages change, revealing the flowing lines of Daniel's handwriting and a small white rose underneath the title.

The Sicarii

A Treatise on the Art of Assassination

I. Introduction
II.The Art of Poisons
III. Close Combat
IV. An Essay on Camouflage
V. A Word on Magicks
VI. Concluding Remarks

[Peridan]

I. Introduction

"At night, we make a fire, and have our tea, and we listen for the assassin, who never makes a sound."

The arts of assassination I have learned originated in Calimshan, or so I have heard. A single man created them, the first assassin of our order. Some say he was taught by Mask, god of thieves. Some say he made a pact with some creature from the realm of Shadow. Regardless, the progenitor of our arts created a stronghold deep in the desert atop a single mountain. This 'Man of the Mountain' created a group of assassins that were not merely killers, but soldiers of the shadows. Our battlefield is not the bleak sunlight of the open field, but the alleys and walkways, the rooms and the cities. A battlefield no less deadly, in my personal opinion.

Our order spread from the desert, into the cities and into Amn. Somewhere along the way we have joined forces with the guilds that control the underworld beneath the cities, and we are considered one of them. From the 'Man in the Mountain', there has been a culture brewed, an environment that is very different from what is accepted and admired. We fight a war that is far more unpredictable, and far more complex than any knight on a white steed facing an enemy army. Our enemies are hardly so transparent, and indeed the line between that of a foe and fried is blurred constantly in the world of quiet grays that we live in. Ruthlessness is paramount in our profession, but only coupled with cool intellect.

I ask you, reader, this: what is the greatest weapon? Is it some magical sword? A spell? The power of a god? Is it an army, a nation, a people?

It is none of these things, I think. No, the greatest weapon any warrior can wield is their mind. From your mind, you can develop strategies. You can use tools to their best extent, even when those tools are lesser than your opponents. You can think ahead so that you do not need a blade, spell, or army. Deception is an assassin's greatest ally, because to be honest, we do not have those tools granted to those with strength of arm, spell, or god. Armies are unwieldy, nations cumbersome. Deception and intelligence are the greatest weapons we have at our disposal, and it is these weapons of our kind that need to be cultivated in its practitioners.

Learn from me, reader. Take what is necessary and efficient, and discard anything that isn't. An assassin needs to be economic in his words and deeds, because there is very little margin for error.

When you take a breath, savor it. Because we, of all, know how quickly it could be our last.

Let's begin.

[Peridan]

II. The Art of Poisons

"A little bit of sugar helps the medicine go down."

Nightshade, arsenic, belladonna. Just a few of the deadly poisons that are part of our craft. Where a blade fails, a yellow fog of volcanic gas may do. The natural world is filled with death, as it is an eventual and usually untimely part of life. An assassin can use these sources in order to compliment his own skills, and add another tool in which to confront a situation with. An ingested poison slipped into a drink can save you time, money, and risk in trying to physically assault him.

Alchemical Warnings:

There are few things more dangerous than working and preparing poisons. To that extent, there are precautions any intelligent practitioner should take when preparing toxins.

First, keep your pouring and other alchemical equipment clean and safely stored away when not in use. The wrong mixture of ingredients, however slight, can create unpredictable results. For instance, if your objective is to mix a paralysis agent like Svakalor Venom, and you have a hint of Belladonna in your mixing tube, you're more likely to completely shut down the target's nervous system rather than stun it and kill the target.

Remember, unpredictability is a sin in the alchemical laboratory. If you can't be sure what might happen when you work with reagents, don't do it.

Along those lines, while blatantly obvious, keep any food or drink separate from the lab and the work within. Very separate. Safety and precision are paramount when working with these agents. Finally, keep your equipment locked away when not in use. Many a mentoring assassin has made the assumption that their equipment hadn't been tampered with, when their apprentice had slipped something in a beaker to cause the death or dismemberment of their teacher with no one to blame but themselves.

Belladonna Plant

Ways to Administer Poisons:

Sometimes, the best poison for a situation may not be able to be used the most effectively. When choosing and learning about toxins, it is always important to keep in mind the best and most effective options. Here are facets of poisons to keep in the back of your mind.

Onset Times

Immediate poisons activate the instant the poison is applied. Most monster poisons fall into this category, and are useful when an assassin needs a reactive measure against an attack. Not particularly useful in a situation other when no one is present, and so no one can find you quickly once they discover the body.

Delayed poisons activate after a set period of time, and are more useful in achieving a clean get away afterwards. There may be signs of the poison, but nothing that would be easily detectable. Dormant poisons take several days to show, and are also good for situations where you need that amount of time to secure escape.

Binary poisons activate only after the subsequent introduction of a triggering agent. For example, the first part is in the sweetmeats shared by everyone except the poisoner, the second part is in the wine shared by the victim and their poisoner. Separately the parts are harmless, but together...

Delivery Methods

Insinuative poisons; must be injected into the bloodstream via sting, bite, or other penetration. Although most insinuative poisons are also toxic if ingested, it is assumed that their taste, smell, or color (and perhaps reduced potency) prevent their effective use as such. Ingestive poisons are effective only if swallowed; assassins favor these for doctoring food and/or drink. Inspirative poisons are effective only if breathed in. Contact poisons need only touch the skin to be effective.

Creature Size

Always take into account the size and weight of a target when determining dosage. Too much or too little will have disastrous effects, and is a sign of poor alchemical ability.

Blade Venom

Evaporates quickly. During the first day after its application blade venom retains its full potency. By the second day its effectiveness is halved and by the third day, blade venom is ineffective. It is likewise removed by repeated use. After the first hit its effectiveness is halved. After the second hit it is gone.

Eliminating Poison

This will be discussed later, but those of our order have limited magical ability. This includes neutralizing poisons in a bloodstream, and should be used if poisoned by a hostile or accidentally. If the poison is not fatal, most should take up to six days per single human male body weight dosage amount to wear off completely.

Veratrum Album, a poisonous plant that induces nervous system shock when ingested.

Poison Sources:

There are thousands of poisons available to the ready practitioner, but I've only listed several here. I've included a ready index detailing more sources.

Index One
Index Two
Index Three

Final Thoughts:

Poisons are a doubled edged blade for those in our profession. They offer other options, but should not be relied upon exclusively. While unpredictability in the lab is not a boon, it is when choosing your tools for a target. For example, paladins, monks, and undead are immune to natural poisons for a variety of reasons. Poisons can be traced back to their source if rare enough, and thus to you. They are also healed easily if near a sufficiently powerful priest, and so must be used overall, with discretion.

The sad truth of being a poisoner is that you see your profession in every bite and breath you take, and every glass of wine you drink. Don't allow it to consume you, simply be prepared. Keep your immunities to poisons strong by taking small doses, and always have an antidote on hand.

[Peridan]

III. Close Combat

"Violence is the last resort of the incompetent."

Physical combat should ever be the assassin's final tool used, and more importantly his best. When it has come to physical conflict between you and an enemy, there is no room for error. An assassin will likely have little in protective armor, offensive weapons, or active magics that would normally be in place for a more visible combatant. However, even when the assassin is visible, deception and economic efficiency are still your allies.

Despite the raw brutality of physical combat, there are techniques and styles of fighting that benefit an assassin when confronted that I will detail below. To begin, we'll discuss unarmed combat and the weak points that can be taken advantage of.

Basics of Unarmed Combat and Vulnerable Striking Areas:

The vast majority of situations that require subterfuge and deception will also require a visible lack of weaponry. Knives, swords, even staves are blatant weaponry that could be confiscated when entering a secure premises. Therefore, it is important to understand how to fight when unarmed against an armed opponent. Because even when they take away your visible weapons, an assassin's greatest weapon is his intelligence and cunning. First, weak points in an opponent's guard.

Any fighter will tell you that a guard is meant to block attacks. A shield, a large blade, or even a second blade, all provide means to defend against an enemy fighter. Advanced fighters will be able to refine this ability into economic and precise movements, allowing them control over each movement that is designed to defend. What most fighters do not teach, however, is that a defense is always flawed. Whenever a guard is closed at an angle, there is another opening. We, of course, take advantage of such opportunities when they present themselves.

Striking a foe when he is unaware or from the flank allows us to exploit every weak spot in a fighter's armor. Train yourself to be aware of the chinks in each set of plate that you encounter in your training, as well as natural weak spots in the armor. The back of the knee, the underarm, the neck. Each weak spot that can fit a blade is enough for us, as we aim from the shadows and strike when possible. Mages and priests present a different problem. Their spells are not always visible, and even when they are they can prevent an unenchanted (in the case of some spells) or an non-adamantine (in the case of spells such as Stoneskin or Premonition) weapon from piercing their otherwise weak armor. In such cases, it is incredibly important to know when a target has its guard down, and when it is likely to be aware and looking for trouble.

Various Armors (Helmite, Blackwood, Banite)

By hitting these weaknesses, it is possible for even an unarmed assassin to take an enemy guard out without notice and with speed that belies our seeming unobtrusive appearance. A blow to the throat to cut off air supply prevents unneeded sound. A jab to the kidney debilitates an unarmored enemy. A snap to the knee incapacitates a foe to the point of infancy. Your hands and feet are weapons just as a dagger or sword. Train them. And train your mind to be able to accurately pinpoint the weak points to increase their efficiency.

This is valuable to learn, but it is not the pinnacle of the assassin's art in physical combat. To learn that, you have to take these techniques to a deeper level, more in depth and more detailed than any thug who fights dirty enough can master. These are the arts of nerve techniques.

Nerve Techniques:

Striking weak spots in armor or spells is an important step in realizing that the human body is the same as any suit or spell. It has strengths, and it has weaknesses. As assassins, we learn to exploit even those through anatomy and experimentation on the human body.

There are several types of pressure points and each are applied differently to create a different effect. "Pain points", for example, use tendons, ligaments, and muscles in the goal to temporarily immobilize the target, or, at the very least, to distract them. These are important to learn for quick combat technique. By being able to successfully cause an opponent pain enough to immobilize, you can secure at least an escape. At most, a target removed.

Pressure Points (Human)

"Reflex points" produce involuntary movements; for example, causing the hand to release its grip, the knees to buckle, the target to gag, or even for the person to be knocked unconscious. Most pressure points are located on the pathways to the nervous system.

Some pressure points produce pain when struck, pressed, or rubbed, depending on the point itself. These points are also referred to as nerve centers. While the distraction of pain might offer sufficient advantage in a fight or escape, the body also has a pain withdrawal reflex, whereby it reacts to pain by moving away from the source. This can be taken advantage of, in that you force your opponent to move a certain way. For instance, by striking a nerve center through twisting a joint, a body naturally moves in a way to relieve the pain. This is excellent in the use of holds, strangles, and setting up for a following attack.

There are receptors in the carotid artery, located in the neck, that are pressure-sensitive. This artery controls systemic blood pressure in the human body. Pressure against this region will send signals that indicate that blood pressure is too high, leading to a lowering of blood pressure. This in turn, can lead to deprivation of the brain and other vital organs of oxygen and nutrients, making your enemy lose consciousness and eventually fall into shock.

The brain itself is protected by fluid surrounding it, as well as the skull. However, it is possible to deliver a blow using techniques in such a way that even these protections can be effectively eliminated, causing disorientation or instantaneous knockout. The most commonly taught technique involves a strike just below the small ridge at the back of the head, near the neck, at the correct angle and in the correct direction. Although, be warned. This strike is easily capable of producing deadly force.

Ridge at the top of the neck, base of the skull (Occipital Ridge)

Most humanoids have the same physiology when determining pressure points and nerve centers. However, one should study the anatomy of each race as applicable, and never be caught unawares. Furthermore, the study of these spots should always have a master assassin teaching. Not because it is impossible to learn, but because it is important as to how we learn them. Pain needs to be experienced to be fully understood. Again, and again, if necessary. A master seeks to teach his student, and make his student ready for the conflicts that will come his way regardless if he knows pain or not. But if he does, he will not be surprised by it, or taken unawares. He will endure, and finish the job he sets out to do.

[Peridan]

III. Close Combat (Pt.2)

"A sword is never a killer, it is a tool in the killer's hands."

Now, while unarmed fighting is a viable alternative to using a weapon in a conflict, it is undeniable that an assassin must be able to use knives, small blades, and other compatible weapons of his craft. Since my own specialty rests in knives, that is what I will discuss. However, the possibilities for a weapon are endless. A chair, a knife, a bottle. Everything around you holds the potential for violence, so do not feel a need to restrict yourself to a single weapon type. While my specialty resides in knife fighting, it is never the only weapon in my arsenal, if you catch my meaning.

There are several types of dagger and knife fighting styles, ranging from the Sword Coast to the Golden Way of the East. The important thing to keep in mind is that a style of fighting isn't dogmatic. Learn the style and the rules, and incorporate what works best for you into your own style. Do not ever, ever feel a need to follow the 'rules' of a style simply because that's 'how it is done'. That mindset is useless for us, and hinders development in your skills.

Types of Grips

Forward Grips:

Hammer grip – the hand is wrapped around the knife handle, with the thumb on top of the fist, as if gripping a hammer.

Saber grip – the hand is wrapped around the knife handle, while the thumb is placed on the top of either the handle or the spine of the blade.

Palm grip – the knife handle lies diagonally across the outstretched palm, while the thumb is pressed flat against either the forward end of the handle.

Reverse Grips:

Slash attack – aka "reverse grip edge out", where the hand is wrapped around the handle with the blade end next to the little finger (opposite side of the hand from the thumb) with edge facing outward towards the opponent.

Icepick Grip - The knife is held in a hammer grip but with blade reversed. This grip is usually used in concert with an overhand and downward thrusting or stabbing stroke. While the icepick grip is frequently employed by untrained knife users (esp. persons of lesser strength in an attempt to increase thrusting force), it may also be used by a skilled knife fighter as part of a sophisticated system that includes footwork and body movements including parrying and deception defenses.

Each grip has advantages and disadvantages. Holding the knife in one of the forward grips allows for more finesse and a longer reach, while a reverse grip allows for more power. The reverse grip is regarded as more difficult to master in knife-on-knife combat, as it may require additional skills in footwork and rapid defensive body movements to offset the increased danger of moving closer to one's opponent and the reach of his/her blade.

That every blow of the point of the sword strikes circularly and how he that strikes with the point, strikes straight. Use the length of the blade you have to judge your target points.

Styles of Fighting

River Blade: The stiletto is preferred by assassins as it is silent, easily concealed inside a sleeve or jacket, and features a blade capable of easily penetrating leather armor and weaker chain. It also inflicts mortal wounds that tend to bleed less than those made by other types of knives.

Conventional knife fighting using the stiletto is quick, dangerous, and relies on incredibly fast reflexes. The thin blade allows you larger areas of target in the gaps in armor or chain, and is easier to pull from your enemy without having to dig in widely to deal damage. The style of fighting employed with the stiletto uses flexible foot movements to constantly weave and parry an opponent's weapon. There is a concept in eastern fighting arts that speaks of 'flowing with the river', an idea that focuses on movement with the opponent as opposed to against them. This style of knife fighting focuses on the ability to constantly weave your knives in a way that allows to to block, parry, and counter in one swift move.

Larger arteries, larger targets

A single knife has similar movements attached, but instead has the hand as a 'shield'. When an opponent strikes, grab their arm or block it in order to strike in as many vital points as possible. Neck, foot, ribs, are all targets that should be quickly stabbed when fighting an unarmored enemy.

Armored enemies have the same weak points that we discussed earlier, but you may wish to focus on areas that connect to arteries and other major blood vessels in order to maximize internal bleeding. The armpit is a nerve bundle center, and also bleeds out extremely fast. The neck, the face, and the back of the head are all targets for fully armored enemies, while lesser armored foes may have arteries available in the leg or foot.

Assassin's Shield: A frequently forgotten asset to any knife fighter or assassin is the cloak. While using a cloak may be a boon or a bane, if you decide to do so use stiff, but flexible material. The cape should be sturdy enough to withstand the abuse of being cut or thrust with a dagger or sword (if enchanted). Three things must be considered in using the cloak: its length, largeness and flexibility.

The cloak, although not a strong thing in and of itself, lends itself to defense because of its very nature. Being long, it may guard against cuts to the side. Being flexible, it will absorb the strength of the blow. It may also be used to turn a thrust to the side or to entrap the blade. Typically the cape is held either by the collar or at one edge close to the hem. In the on guard it should be held out from the body and should drape down from the hand. If you have a long cape or cloak you may fold the cloak once or twice around the hand and forearm. You must assure that you do not obscure your sight with the cloak. This can prove to be a deadly maneuver. A point to remember in these cases is that the flexibility of the cloak is what protects. If a cut lands on a cloak that is against a solid surface (i.e. your arm, leg or flank) the protection is lost and you will be cut through the cloak.

A cloak may be used for offense as well. By twirling the cloak around an opponents sword, you can effectively entrap or disarm an opponent. You may also be able to throw the cloak over your opponent, either securing a strike or escape. However, unless the cloak is enchanted to a reasonable degree, it is unlikely that it can be serviceable beyond the single fight if used incorrectly. A tear in the cloak can cause unpredictable results in a fight, and may cause you to overreach or put yourself in a situation that leaves you open. That being said, better lose the cloak than your life.

Final Thoughts

Other weapons and styles are available to the persistent assassin. While I've listed a few here, I have only chosen them for their ability to blend into society in as an unobtrusive manner as possible and for the speed in which they offer in relation to their destructive ability. Swords, spears, and other style of fighting are always pertinent to the assassin, as long as they are able to be used with economic efficiency.

I am not so egotistical as to think that you, reader, will take my word as law. But try and pick the key elements from anything you seek to learn from. Speed. Flexibility. The movement of energy in fighting. These concepts are paramount for any fighting style we employ.

[Peridan]

IV. An Essay on Camouflage

This section of the book only has detailed sketches on each page. Animals, humans, not a word is in sight except for the quote at the top of the first page:

"True invisibility is perception."

[Peridan]

V. A Word on Magicks

"There is no magic. There is only knowledge, more or less hidden."

Whatever the nature of shadows in our profession, there seems to be a tenuous link in what we do to otherworldly realms. This link manifests itself into innate magics that speak to darkness, and coil within our very being. Illusions, darkness, and death magics have been known to be at our command when needed, but the purpose of these magicks is still relatively unknown. Several hypotheses speak of our predecessors leading back to the Man in the Mountain, and whatever it was he did to found our order in the beginning. Others speak to the gods, and certain deities that may have an interest in providing our kind with magics. And even still, some speak of the darkness cast by the light of Mystra's work, and the Weave that is entrenched in shadow.

Innate Magicks

Whatever the case, these abilities are useful in our profession as they are cultured and tended to in the course of our growth. As we steep ourselves further into the darkness, the deeper the darkness grows within us as well. The pinnacle of these abilities allows us to use the very shadows as a cloak to shroud ourselves within. By using this power, an assassin can hide in any shadow the size of the assassin or larger. We can vanish in the very sight of an enemy without warning, mid battle.

Although, without light there cannot be a shadow. This ability has limits, and cannot be used indiscriminately. We cannot use our own shadow to hide ourselves, for instance. There is also a strain on our beings that make it impossible to jump in and out of shadows without brief rest. Be warned, in battle this can prove to be a decisive moment for your enemy. They will look for this brief moment of exposure, and strike at it. Use what magics you have to conceal yourself even in the midst of battle, and be ready for an attack when you are at your weakest while using this ability.

Below this chapter, I've included an index of spells known to be available to our order.

Learned Magicks

Besides those abilities granted to us through our work, there are those than can be learned. By mimicking the words and gestures of arcane and divine spellcasters, we can draw upon the magicks that are inscribed on scrolls and other devices. This capacity is incredibly useful not as most spellcasters of the valley seem to use it, wastefully drawing upon the Weave in successive order to remain warded on a constant basis. This is using a scalpel like a sword, in my opinion. These powers are wasted on those who cannot appreciate the value of a single, well placed spell. The trained assassin does not make the same mistake, instead having a set of scrolls and items that are able to give him enough of an edge in battle to make a difference.

I've found that keeping track of these scrolls can sometimes be problematic. The wordings on arcane scrolls can sometimes be similar, if not identical if not for a misplaced syllable or three. As such, I've included plans on the construction of a leather holster, strapped to the leg or arm, in which there are singular slots available for rolled up spell scrolls of your choice. I've found that by crafting wax seals to place on top of the scroll allows you to quickly and accurately identify what scroll you'll be using. Color helps for when there is light, but more importantly one is able to feel a distinct pattern that can signify the kind of spell you place within the slot of the holster.

Combating Magicks

I'll be perfectly honest, in that a spellcaster's strength is in their preparation. If a spellcaster is well prepared for an assassin, the chances of successfully eliminating them go down by an exponential degree. There are a multitude of spells that provide an enhancement to a caster's senses, which allow them to see and hear anyone seeking to catch them unawares. And besides the fact, they have their armor of wards and magicks that usually surround them when they expect trouble.

There are several options at this point, if you have a target who is well prepared with the arcane or divine. First, you can strike when they do not happen to have a mass amount of wards surrounding their person. Spellcasters have moments of weakness between bouts of incredible power. When they rest, and more importantly when they have to study spells or pray. Learn about your target. See when they usually have to renew their wards and relearn their spells. These moments are always present, even for the prepared spellcaster expecting an attack. And since they are always expecting an attack, it is logical that they will be prepared for one even while they are at their weakest. This doesn't provide a fool proof opening for an assassin, but it creates opportunity. That should be your goal, reader. Create opportunity, and it is available for you to take advantage of.

Second, is to strike at their wards themselves. This is not always possible, but a learned assassin who makes use of spells himself will have not the usual dispelling magics on him, but breaching magics that do not require a pitting of magical skill versus magical skill. Like anything else we do, a forefront confrontation is never in our best interests, but only robs us of our most useful tools of deception and intelligence. The closer you move in towards a conflict, the fewer opportunities exist, as do fewer maneuvers in general.

Finally, the least desirable path is that of extended conflict. Exhausting their spells is possible, but you'll have to be in possession of extraordinary luck and skill to be able to do so. Wearing them down with hit and run techniques, spell breaches, and long range weaponry that can strike at their weak spots in their defenses can work alone. The problem being, besides the obvious one of exposing yourself frequently, that while you tire them down they are tiring you. The longer a conflict extends, the more chances exist for a mistake on your part or a lucky hit on theirs.

Final Thoughts

Seek to do speedy battle, reader. Use what advantages you have, and press them while they exist, in magic or in anything else. Never move in haste, but with calm and efficient action towards your goals.

[Peridan]

VI. Concluding Remarks

"Is it true one really lives on the earth?
Not forever on earth, only a little while here.
Though it be jade it falls apart, though it be gold it wears away, though it be Bird of Paradise plumage it is torn asunder.
Not forever on this earth, only a little while here."

Knowledge is a dangerous thing. Perhaps you've heard this saying before, but I hope now that you see the real meaning behind such a statement. Knowledge is dangerous, because we shape it to be that way. We take what we learn in our lives, and mold it to be useful in a way that promotes our betterment.

But allow me, dear reader, to amend that statement. Unearned knowledge is unpredictable. By learning it step by grueling step, we see each facet of the thing we learn and can use it in the way it should be used. Accordingly, this manual is unearned knowledge. Those who read it and use its practices without training are unpredictable, and therefore dangerous not only to those who they seek to use it against, but those who they may not. As such, this manual should never be used as a sole source without training from a proper assassin. Why does this matter, you may ask?

Assassin's art is something that needs to be earned to be understood. It needs to be drilled into our minds, our bones, our flesh. This is because it is not a good thing, we do. We do not fight with honor, or with dignity. We kill with ruthless efficiency, even those who do not deserve to die. We are not good people, no matter what our intentions or ideals.

But you see, this is the true source of our strength.

We may be shrouded in the darkness, covered by illusions. We may use misdirection, and sleight of hand to confuse our foes. But at the heart of it, at the center, we understand the truth. That what we do is wrong, and that we are under no illusions that speak otherwise.

This may not effect most of us overmuch. We do what we have to to survive, and we do so because we are good at it. But there is a line that we do not cross, in that we do not fool ourselves with shining idealism or righteous cause. They are simply fooling themselves, those who believe that killing for an idea is somehow 'better'.

We are the ones who know better. We know that what we do is not power, not really. It is only one side of the coin, one part of the dichotomy of darkness and light. Life is just as valuable as the death we bring. It should be cherished and savored, until its end comes, however that might happen.

It is important to realize this, and comprehend why fanatics make such poor assassins. They are driven by zeal that cannot be questioned by reason, logic, and facts. They are so certain they are right, and that their means are justified in whatever horrors that they concoct, that they fail to see the underlying elements of our entire order: to kill without passion, to fight to survive, to reason with our minds.

These ideas separate us from those mindless killers following their dogma without forethought. We may do similar things as they do, but do not be fooled by actions alone. We at least, do not claim to be doing so for anything else than what we are paid to do.

We stand apart knowing what we do, and living by it despite our knowledge of good and evil.

And it is by doing this, that we are able to be human.