filii , I .

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lEE
.1. J. J·t Til
Braz1 1an 1u- 1 su
~n~eJ
TELHNIQUES

Royce Gracie and

Charles Gracie
with K.ld Pellg
I

II II

photogtaptu. by Tom Pb!Je

 Brazilian Jiu-Jitsu
~et -o TECHNIQUES

Royce Gracie and

Charles Gracie
with Ki d Peligro

INVIS I BLE CITIES PRESS

MC)N T I' fjl, l fi fl, V I) N f,, ON l
 ln\•lslble C ties l"fc»
$1) Sto!:I(C SII('Q\
r.•ol'ltpeloer, \'1 05602
W oV.V. IWi~ibl('ti t li~I)I ~\ ,(Om

All ' '9''" "-""""'' ed.

Thil buol:. o• any IJm~ th•••t•of, mt~~ not b~
l«>fOOIK('d In o)lty for-rl \', thOU I !>ctll'lu.lon II QI'I\ lt•t: IJUIJit\ltcl.

Cit , ot!Q, 'IO'ltA!,

Cl,)tl hm ,lu J•tlu •~1 1 t.l•·h •t\1<! Wd !!tl<w~·s: :
RO)'(f' Gf,)r!f' .)nd Chod¢l G•Kot wit" Klt.l 1'-::li!JW.
o. r tn ,
t!OON 1 ·~3 1 Utl ·21•!) (Pit!'''' I
I. Jill tiiW lh,Jil.l, G.11K r, ()lar l~. II, I'•' 1(11'(), Kid , Ill Tltl~.

GVI1111 .Ci1!t 2(10~

19(;.,1\t$ dt ?l
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IM ~_.tiM. p..ibMsfl~· II~S.Urno riO IHpotldbU!r•• l tll IIIII uur Ql t iiiUJ Ut ol
lll.l~tlon ._,......,.,,. tt!A bCJolo or lo t lillY l!!h.>t"'• t"-1 tiiiiY ootur n 11 rn ull of
pud~ W ~ COftuiMd l!ettln.. Tho U!u~h~II011 • lind~~~~ .,o; 1<11 !nhu ·
~tioon» ~ Utele ho lds ond tothl'llfl\!M
..-ly 11 il ""~,.,. j,,. to pro!ottlu~
\1~ tile nnn ~"'WO. o1 • qulolltllld loK'I•o•tto-o,
Adclhlon "ll~, uno; l hlltoltl

c-1111 .o ,..,_.~ bt4ooe ~11r':i"" on"""~ do:m.M~ct.lt ph)•lial ani11if\\

8oc>\ d~gn by F'o:!t<:e Hl)lrn, 51 ~11 111!} !lill Pto rlt•(t•om

'11111'1 'iiVOIIl asslnatlCe from rei•I Klt:in
rtR~TtDITION
This book is dedicated to the many membe-rs of thf' G.._,~ fimlly for
their t1relm efforu cVld 'kKtlf"Ke over the past seven dK4ldes to spread
tht word abovt Br nilian j"-'·jitsu throughout th~ world. It is abo d@d..
cattd to our •mm~rate fa miles and loved one1o ffX theu lov~ tuppor1,
ilnd fr~cndshlp. Flnotlly. •t is dcdic.ucd to all people who choose to Itarn
sc lf~cle f tn~ lind to prot«\ themselves and their loved ones.
Contents

lntroductton /1
The Htnory of Branhan Jiu-frtsu /4
Meet the! Authou 11
Training GlJi~Hnes /13

The Po5itions /19

00 I Dropping in base I 20
002 Miilnt ~'lnln g your ba~~ I 22
003 Sillglc·hondcd wri1l gr\lb (thumb yp) I 24
0011 Slngln·hnnded w riu grab (1humb down) I 26
OOS 'lw o huucJcd front choke I 28
006 1earning to f~U bac.kw.ard /30
007 Ietunlng to Iall to the -;ide /12
008 Sluylc honded collar grab /34
009 rorw•rd roll/ 36
010 Headlock wttl\ punc:hes /38
011 Uip thrO\vJ •o
011 Cho k~ from ~1\ond 142
013 Owrhc.u.f dub olttack t 4 11
014 Standlnguptnb..-.~/46
0 IS Gvn at the w,1i~t I 48
0 1(j Guillotine (front choke) I SO
0 17 IICJdlock on 1~ ground (frame e«ape) I S2
018 Renr hfM hug (over che arrm) I S4
0 19 f\lyo tll.t!ldcd wrln grab 156
020 Front kick t 58
021 Side hcmdl()c;k I GO
022 Ovt.:rhNt.l kniftt ·•ltack 1 62
023 Front h ear hug (over the arms) /64
024 Hold u p (Qun in t h~ !ftom~<h) /66
025 Ovcrhclld dub o.~uack (d'd ender mis~ g11p) 1 68
026 Ht>adiO<k (strong opponent} 110
027 Underhand kn1fe dttdd. 1 72
028 S•ngle·hlnd choice against a .....all/74
029 Gun In t~ bac:k of the v.·aiuband /76
030 Sodo kock (•tt.lck) I 78
031 Gutllottne <ountet" to a doubJe..leg talcedcr.·.-n I 80
032 Col~r grab wrth a twn:ted wrist I S2
Oll Sucl<or punch 184
Ol4 Hudlock (~nt down) I 86
035 Front bear hug under the ol~ /88
036 o..mead dub att.U C<hatgt) /90
037 Choke and drag from behind /92
OJ8 Hold up ftom behmd I 94
039 lieadlo<k (hooks o«.>pe) /96
OtlO Front choke {strong C)99r~U0f) I 98
041 Rear bear hug (undPr th~ arms) 1 100
042 Two-handed collar grdb (hclnth apart} I 107
043 G"illotone (standing up) /104
044 Knife attack from heh1nd /106
045 Two-handed choke agauut 11 woll (bc"1· flnger escape ) / 108
046 rwo·htll'lded collar grab (~11"1dS. together) / 110
1).;17 Elbow strike /112
048 Rear bear hug (ltfted up} /114
049 Tackle /116
050 Headlock (knH-hnq •nd roll•nq t"K~M') 1 118
OS I Shoulder gr.tb .,.,,th bent arm I 120
OS1 Shouldtt gr1b w•th \tra•qht .,,m 11n
OSl lentfe attack from btohtnd (h\lff' •qa•rnt n('d:) 1124
OS4 Slti•ght~rm collar grab VV•th h•qh 9"P I 126
OSS Puvltd ag••nst a wallll21
056 H~nd <hop/1)0
OS1 P.:alm ag,.•ns11h~ <~11 132
058 R~ar bear hvg (over thf' am"-htad bYtt MUJ~}/ 1311
059 Rear bear hug (over the f)rms. he~l \ltlk~) I 136
060 U"derhand kn~fe tl11dCk (unught arm blo<k) 1 138
061 Headlock (~nt down- ~Uinc, bilCk ,~s.fape) / 140
OG~ Underhand knif~ an.lct:
(str.:tight-autl block-oppont>n1 rf'~lsts) I 142
063 Chair attack /144
064 Gun from behind (hostlt9C pos..tlon) I 146
065 Single handed collar 9'6b (thumb down) /148
066 front ki<:k (deflecting lhe foot) 1 150
067 Kn1fe alta<.k from the S~f"/lSJ
068 Collar grab with stiff arm 1154
069 V/resder h.ead·and·a..-m hokf (btidge--•nd·rolt ew:ape)/156
070 Bad<hand l<nil~ atta<-1./158
071 Two-handed d"'ob~ from beh•nd /160
072 Haymaker /162
073: Swinging ".-eapon I 164
07.C Two-handflf front chok~ (es<ape ....,-th shoulder lodt) /166
075 Side kid< (defense) 1 163
076 Headlock 19a1nst ~ wall/170
077 Hand sloap/172
078 Break1ng up..- fight/174
079 Full nel1on I 176
080 Full uel1on (<om't break out- throw es<ape) /178
081 Full n<!lson <completely locked)/180
082 Full r1ehor1 (roll and thrqw es<<Jpe) /182
081 I ICO<.IIock (iHio.\ckcr counten earlier m()V('S) /184
084 t-lcodlock (CSCllpc with multiple adju.strncnb) 1 18&
085 Wt~ll kick 1188
086 Front lhro4l grl.lb 1190
087 Headlock (bending b•ck) I 192
088 Gun to I he rlb51194
089 Gullloline choke (pulhng up) /196
090 Hantbha'e 9rab/1M
091 t-l•n~hilke gr•b (quKk defense) I 200
O'J] H•.octlo<~ 1•99'"'"" again>t the w•IIJ I 202
091 Sodc kl<k delen.e (aggr<!SSC< avo;d< t<>\edown) 1204
094 Guillotine (..-rm U.lpped) /206
09~ Gulllotme (;um tr3p~d-<ontrol dt-fensc) /208
096 Choke from behind while 'ining dO'.'M /210
097 Ctlokc front behind while ~1Utng down
(IUiaCkflr P\1111 you up) I 212
098 A<co~ tecl fron• behind w hile- sfning 1) 14
O?!l Sldn headlock (hlp throw) I 2 16
I 00 Arm pmh I 718
I0 1 1 1 ~11 11c lsor' /220
10) HAll nc l ~on (wrist lock Mc.a~) 1222
I 03 W res-IIN head·tmd·arm hold (anad:cr resnu) I 224

Thft Proving Groun ds I 227

 Introduction

C: ongr.,tul.lltons! By buying this boolc, }"'OU hoh·e JUSt moXIe a

commitment to learning the wrest and most effKCI'Vf' ')'Stem of
self.dcfcme av.l•ldbte. B.razilian Jiv·Jitsv ~lf.tkft!niC! T«hmquet w•ll
teach yov how to neultcll•ze any attacker in almost t)ny Jttuat•on
wtthout cau~lng seriovs inj:ory. It wiU g•ve you a <on••dence on the
st(Cc ts yoy m.av never ha~ had
II you Me ot oil f;Jmlll.ar w 1th Brazrhan jiu-jitsu, you prob.)bly know
lhllllt hn) revolutionized the m.Jrtial arts v>I'Orld m the Jmn de<ade, o)nd
you prol>o.~bly kuow that Grt~cie is perhaps the best kf'tOwn n&nlil In tho
m(lrtl/\1 nrt~ Whllt you tn.Jy not know is that the Grades bC'!J<ln tCMhil'lg
U(,tt llltu• jlu-jhsu tl\ a means of self-defense. beginning In Riu de Janeiro
in the 1920s. A; Urottlllan jlu·r•tsu has come to dominate lrliA<.-d miutial
Arlo; (MMA} compNitions, itnd cmph.uis has stnfte-d to thr- spon O~f>C'(t
or UraLIIIan jlu·j•Uu, tilt nreetworthiness of the art hM b~n neqiKted.
On the sheots. fan<y <ompet•1ion sweeP' and 9' ~pel <hok~ are not
C'ffe<tNe. ~r~tor~. tn a s.cm.e ttus book tak.~ Bra11han I•U·J•t~u bac" to
Its roo1S by tokrng n out oft~ ring
As Royc~ r-~e expl6lns. ·A f•ght ~ notlt..ln "''''h • rt'lt'IH •~•ng
IIyou ;U~ ready. It genttalty staru w.th an aggrt-s\tW a<tton. an unt>x
p«:ted att~lCk If you <..n·t f!jCa~ from that a.ttMk oJnd bm'lq the )ltutt
don to Y~" <omfort zone. then you are •n tor a IC~n9 dlly I hove setn
m.arly penplf well ven«t in or.nihan i•u-i•tsu get •nto uoubt~ ~au1e
thoy <ouldr~'t C'KdPC! hom a <enain hold·
WhAt I" It nbout Orll.llllan jiu·)rt\u that makM it \0 rUMtlvr I)S a sclt
dchmse ~Y~li.Hn? We cnn bre.ok the answer into four main poh~h: it i"'
I1¢'11Qncd t o work even when you are surpti~ and in a f)OOt position,
II. 1oi dc~l l)ncd hy 5nl;.11t peoprc to defeat linger one~. it allow"' you to
d~vel op lnH.InltulCOU'I reactions by prac1king in extrernely UfcUko mcc•·
cl~e'l, lind It provides you witt1 a range of severiry In dMIIng with you1
Ill Ulckor. Let''l examine th~1tl points one by one.

To uodentand 8rclzilt.ln j•u1l tsu. you murt undern"ind the d1H~«K:e

between a gr•pplmg art and a striking arL Grappling aru (suc.h at I'"'
jusu and judo) use wres1hng-ldce hold~ to <onttol an Ol)p()nt-nt, while
ttr1k1ng ans (Sll<h as k.JtJte) \.!Sf!' kidc.s and punthH to ln<apacnatt an
opponent. Stt~lung arts work b6t when you know an opponent 1S th~re

- I -
.and am l.aunch an attad:· before he is close. Grappling arts are designed
for close contact, so even if you've been a113cl:.ed ffOrYI b.:!hlnd Of are
Cdught in <1 dinch-ewen a headlock-you will have a range of effective
respon-ses at your disposal. Brazilian jiu~j itsu famousl)• turned the
rnart•lll ilrU world upstde-.do...vn by ~howing that. when flat Or) his bo:.<k
with his opponent on top of him, a skilled Brazilian jiu·jitsv pr,:~ cti tioner
was still in an extremely favorable pCKition. Having an inslant and e ffec-
tive rNtct•<m to an atta<k make~ all the diHcrC'ncc in the outcome, tmd
the Brazilian jiu·jluu self.·defense system places much emphasis o n this
element of surpme, as we w•ll see in the positions.

:!. Site a nd Strength

A kMa te dlop is no1 atiNays the answer. ru. Royce poin~ o ul, "'ll 1!. very
importnnt to renl•le that nukmg ~omconc bigger and tougher ltmn you
may just oggrJvatc the s.ituation. Tak.e. for cxarnptc. a small perwn trying
to pun<h .J 260-pound man; 1t ~~ 1un goi11g to mnl:.c h11'1l angry. With our·
tc<.hnlqucs. we: use the p.a1n ftorn an arrn lock or another svbrni:.sior"l ho ld
10 con trol ~~ situation... Be<ausc BrM:ili3n jiu·jf1su wa~ developed by
t'ncn of relatively small build. ll had to dC\•Ciop ways 10 de l co~ lorgcr
opponents that could be employed b)• smaller ones. This mokcs it the
ideal W!lf.<fefcnse system. It take-s linlc ~reng 1 h-jus 1 skill- to ,,ropcrly
execute a guillotule choke, wnst lod¢. or arm bar that will h ave your
a ua<kCr bC!gglng for rncr<y o1nd completely ;,, your cor\ lrOI.

~. Lif~ llk e Tro1lning

A further drawba<k to the !i.ttiking an~o is th;,1, whe n tmil'ling agDinst .l

live panner, at some ~...et you have to "pull your punches." Because the
striking art\ <~re des1gned to inji)J(> an opponent with kicks or sl rikes,
you c.an only go so far while sparring before risking injury. You never get
the feel of hO\Y quickly things happen in a real f ight, or what it is lik.e
to .sctuc~lly punch someone. But.. bec:ctu!>C Brazilian jiu-jitsu hos little usc
for kicks and puncher-inSlead relyinC) on chokes. arm IO<ks, and other
submU.Sion holds-i1 (an be pr<Jcticed exar;tly 1he same way it would go
down in an actual Hghl. This may nol se~m significant at fi1'St, but h) 1hc
preciou1 se<onds of a real street fight it can make all the difference .
Roy<e and Charles have seen skilled martial artists who turned out to be

- 2-
hothou"Je ftoo.ve~ under the preuure of a rei11 fight. when fa<.cd wtth
no-rutes s.t~hOn! that dM:In~ follow the carefully prescriMd ruJn of
thetr tr~inu-.g. they 'Wdlod. In connan. a llrazilian jru Jti.W ptKt•boner.
by ,,..,.ng aga1n and ag.Jin under rifehke <ondthons, de-velops :.lUio-
madc rflpon5~5 to a full va riety ol attacks. Vutually no thought i~o
required Like hitting .a Wsc:!baU or surfUlg a wave. rl becomes muKit"
rnemory. Only then is it truly uoscful m an unexpe<ted s.tutltion.

/.1. Severit y

Wl11.!rl 4'~kcd about \'ihilt differrcnUatc-s Brazdian liv·JitSU s.elt dc:fcmu fr orn
o lhcf lyvc,: o f scl f·defen~. Royc:c and Chatl~ arE> qln<k to rrpty "In our
~tyl e, the techniqut1ullowyou to choose thcse'~Cfrtyltvclofthr r~porur .
If the per~on you .ue 'facing IS a fr.end who 11 tfmpor~mfyout of h11 M"~
you can <Orll.lol him wrthout hurtrng hrm. tiO'o·~. rf you N(' dr-al.ng wrth
a aimlnal or a ~ibente .Kt to •"Jure you or a I~ one.", you <.m apply 1
more kii'Ltlbko ·~ tNel ~ (iuse as nlUC.h ~ .s you nt'fd to.·
8.C4\M 8r~lk'nJIU t•tw ~~control. not :Urr'-tnq. 1t 11 JNf111Cul&rly
t.Ou(ju ou1 bv peop~whose job •t tS to wt:xtu.•ndtvldlolil\v.,thout hurting
them bar bounc.er1. poh<emtn. ~urity Pt~ It K 1 gr~.ll ielf
deft'Mt option to twve fOt ilf'\'y'One else as wc-tl f~tt beut>r 1han bt-ing
forced 10 l11jure «>mcone ~ scnousty wrth !lud(t and stt~k~ that they can
no longer t1tt.•ck you Of<~. it "" atta<ker K \0 dlnt_)NOVS th-at you
nef'd 10 P'-lt hlrn O\l t of (Ommi.uiort-SO you can gcrt aVt~oty, for uut"ncP-
thcnlt 1, n 'linlJJht matter to foUow 1tvough and bft~tk the wtrst. e-lbow, o r
'lho uldcr joint that vol l tmve in a lock
Tll(lrfl, In A nutsh ell, .u e some of the rea\Of'K why Orculliltln jlu -Jit~ou
self·dcfc:mo it. the perfect S'JSI!Cm for most ~ople who wtlnl to I~G II'I to
proteCl lhcnuci\ICS. We'll e•p lore some of t~ ~rnc •uu~\ in fur1hcr
detail In the trolnlng d 1Jpter. But where. you may tlsl¢., did Brazman jru·
fitsu come from? Why was it able to revohnio"'u the- martilll .Jrhl
wn.tt makes ll so un1que? To uodemand tt1e am\vcr' to th('W ques·
t om fim you,~ to leclrn a httle tunory.

- J-
The History of Brazilian Jiu-Jitsu

I n 1801 a Scottish immigrant by the name o f Ge01ge Grude lliO\'e d lO

the state o f Pat a in northeaste-rn Braz.il. Then! he and his fa mily lived
for r'n~ny yctltS. In the early l9()0s a Japanese man na me d Mitsuyo
Maeda moved to the same area . The Japanese govcmmcnt was eogcr
to form a colony •n Brazil, and Maeda was there to help 1hc colo ny
prosper. In addition to his political skills, Maeda ha p pened to be a
former champion in the Japane~ ar1 of ji u -j i~u. and he bcgo1' tC{IChing
leS$ons in Brazil, hopmg to polss on the tra diiio n. He bec.:~ me <:lose
friends with Gastt.o Gr<Xie, the- grandson o f George Gta d e. Gaswo was
involved in politics and u~ed h1s hlfluence to help Mac d;:~ and the
Japanese colony. Maeda. in return.. tilvgh1 Gas~o·s son Carlos 1he art of
ilu ·l i ts<~ .
In 11925,. a ft er movmg to R10 de JoH'IOiro. Carlos i!nd h is brothers
o pe n(>d the fu·s t Academy of Grol)cie Jitr·Jitsv, in 1h e Fla me ngo ote a o f
the ci~y. At lht time. Rto de Jan~i ro was 1he (A)pita l o f BlliZil. The
academy quickty be<:.arnc an cnounous $UCCC~~. o:m d soon the bro thers
we re tca<hlng the top polili<ians and pers.on ali l ie~ of 1he COIH'I1Jy.
The Grade Academy had many insu uctors teaching do~sc-s oil doy
long. What they UJUght, at first. wai the 1f'l)ditiont11 Jtlp-'nese s 1 ~~1 o o 1
jlu ·jitst.t Carlos held le~r"ned from Maeda. like judo, it was a gro1>pllng
style of combat with many forma l rules. Wc ighte tJ d ow n unde r
cer1turiM of ritualized tradition and t echnique. Ihere w~s lillie room for
inn ov.,.tion. But. half a w<Hid away from Ja pa n's influe nce, lhc sport
fo,.~ ncl room to breathe in 8ra1.tl. Carlen a nd his bro thers kne w lilllo o l
formnf martiill arts and were thus l!lble 10 simply discove r whal wo rks
b~st in ill'ly given situation. Because t he Gracies we1c free to e mphasize
what wa~ effective and leave beh1nd a n~1thing tha t didn' t serve a
purpose, the sport qukkly ~vOIY~d from its parent spon in lo ~ome l h ing
quite ditferent and came t o be known as. Grade jiu-ji15u.
Highly influential in the development o f Grad'" jiu ·jitsu was He lio
Gwdc, Cdtlos's younger brother. All the Gracies we re slight of frame ,
b ut Helio was p a nicutarly small and i rail. He e ven ~uffcred lro t'n S l>~ll s
o f d1z:ziness that J>levcntt.>d him frorn a ncnding school. Young He lio
wo uld spend his days watching the o1h e rs teach a ll d<.~y long. 1·1 ~
o b served more closely than anyone realized, beca use Of'le d a~~ when
Carlos w.as unable to make it to a p rivate class, Helio offe-re-d 1o le(lch
the s-tu dent He-lio WM si)Cleen years old and weighe d 140 pounds, and
the st'-ldent was sk eptical but ag u~ed. At tht:' e-nd of the le sson the
studen t was so imptessed with lielio's t e aching style that he aske-d

-·-
 C..V'os H Helio coukf be his teacher. From that d.Jy on Hclro Gr.Kte
b«ame a lulllmtructor at the- academy.
OYtt tM next few years. Ccvl01. and H~io d~lopcd the-Ir new ttyf.e.
Because of his small stature and frcllh)".. Heho could not u~ rrwny of tM
Japanese rnovt.os that were based on poWC!f .tnd \f)ef'd, JO M dtvttopcd
new leverag4!1 an<f new wdys of doing moves. As tteho tells 11, "My
brother CilriOi wt~.s vety athl(!tic. qurck. and flexi~e .,,e could do t hou~
m ove~ C\lslly, b'-ll mysctlf. I w~ a sidcfy yowlg ~ad and couldn't us~ th("
:IL'ItliC le verage points or the s.ame speed. ~ 1 h.ld to ttdapt. .. With Helio
d oing more o( the innru(tional work, c.ulos, wAs nble to d{'dlcatc
hlm~clf to the rt'loludgeriJI side o1 the family bu~nc~~ .md to dev('fOf)il'lg
th u fillliCd "(ir;ulf' Die I." (A diet bdsed on food 9roups ilrld how they
coml>i"(" with each other. it has been perfe<ted and vsrd by the lbrnlly
for the r~H seven tv five VCdrs.)
llcho tumed out to be a bt1 II• ant •nnovator, and 1~ st)'te hr cll"Ytlor>Cd
proved to be victorious agau·m all ot~rs. reqilfdiE"\~ of ~•7<" Helto Gr-KJe
bccolmt! the top sports hgurc_ .n Bfaz1l in the 19~ hqhttn1J in public'
~ts In front of tHK of thousands of 'J)Ktaton.,. hr5 r~ut.lllon grew
im~y ret 0\ICt two dercctdes the GIO!KICS ~teplf'd mMl)' <hwll~
,lfld fO\KJhl e varllt't'y of opponents from dtfftrent b.ad.qJol.nch ctnd ot
d•fftrent sll~ In one extrttnc e~le:. btothf.f ~·.aldo Gr.x_.c, who
weighe<l 140 pound>. lought lolln B.>ldy. who lopp•d th• I<Air< 01 360
pou"cl1.. O"'volldo deft.tted 8~kty vnth a choke hold •n JUSt t\oltO mm~es.
Evcnt'-hlllv the Grdcle..' fMne rc<Khed out\Kft> 1hf' borde1s of their
horn.-liln(l, hJck to J~.tp,,n, horne of the mos1 skrlled n\olrttal Arti\1\ in 1he
world iH lh nt time. Th~ Gr.:~cie brothers ISSued •' ChJ:IIerUJC" to tha IH>\t
martl~l ~rtis t J.1p •.n hnd ever produ<cd. Mat.ah•ko Klmu'A Kimura stlp
ulated tllllt h e would not fight Helio \lntil HeUo !)roved hmlsl.llf "9"'""'
the second r<"'uked fighter In the world at that timt'. known~~ K<"'IO.
Kt~tO wns for tv pouuds hea..,ier thdn Ueho and <orurd~rNf by many to
bf' the best Jiu -jitsu lechnicldn 1n the world lhc two fought a lflgf'ndary
battle to a draw. In the rematch, Hel10 choked Kato uncons<Jou~ wtth h1~
f.tvorrlt move, the front lapel <hoke
Milnfr Kimura then challenged Heho 10 a fight Krm... • uau~d at tM-
bmf th4t 1f •nvone so slight <ould surm.-e three mtnutH 1n tht urtg ~•th
tum.. ~ would c.on.s..dcf 11 d defeaL Hetio. d~ptte thto hugP w~ght
diffHitftCt .tnd strength ditrl'fen<e.,. banted valt..\nlly fCH thuleen
minUtC1 Mfor. he \vai aught in a brdltant nm locl <alftd '"Ute
....,.,.,. --now a st.1.nd..ud move in Brazilian jiu ·JIUU. StP1ng h•s
biCICht'l"l .ttm about to be broken. Carlos threw in the too.vel

- 5-
 For the next scvcnty·five years the Grade family dcd kMcd itscll lo
the p rt:!servation and dMemination of this great 1ighting S'tyl~n<:e
called ·G rade jiu•jitsu. now more widely known as Brazilian jiu.jilsu. lu
the p.Ht ten years~ the ne-.vest generation o f Gr'tlcies have bro u!)ht a
popularfty to the sport beyond the wildest dreams of Ct~rl os a nd Helio.
It is time to meet two of the most dynamic members o f the f<Jmlly, RO~I(C
and Ch.arles . .along \vith their good friend Kid Pcligro.

- 6-
Meet the Authors

'Royce
November 12, 1993: il new pay..~·VIC\V ~nt tn;,1lt1. 1\So ckbut 10
America- the! Ullimat~ Fighting ChampiOn~·np the concept was ~mpiC':
pit eight e•~tts in d•ff~rMt ma"11l aru .tga•Mt uch oth« '" ~ngle-­
el•mmat•on Hght\, wtth no rula •nd no t.n~ hn'llb. to INm ontt' and
for all which maruat an .s most tfftctl\~ .., rt"l hft s.•tuatiom Among
the contestant'\ WM a 380-pound Jumo wTettlff, • 215--pound WOfld
dMrnpion lockboxtr. .. p.~;w.,a~ tha~.on. .,.o •
)kmny, t1~ pound
flli)n dteiS«< in a wh•tt kunono Oliff t~ two hours of the event. that
\kinny m.tn defP.at.,d tVttry oppontnl wrthout to mut.h ,u thro-... tng a
s.ngle punch on hb w~ to the hilt and the )uddcn ~uent10n of the
entire martl.al att'l communtty ths na~? Royct Gt.t<1t
Th.tt nlqht. Roy<• Grd<te boH;."'me one oft~ me»t rec.oqn•:cd name~
in mortldl urt.s \ln<J l.lun<tled the Ouwl..v. J•U ·J•Uu ttvolut•on llround the
world. F«" from being an QYfrmght '\.fffl,j)tlon. this WM 10meth1ng Royer
hnd been prcpt,tlrl<l lor hts ernue lifer.
The K!cond young<l'Sl son of 1~ ltog~ndary Gr3ndm;H:1er Helio Grac•e.
Royce grew up In Rio de Jnn..-iro. Art•~lt. in a family of fll]hter$ Young
Royce :lf>Cnl h i~ childhood w~ltdlll'l(j the l'lkl\IC!I) or the )port lCltching.
his f~ th cr. Hello, brother~ Rorton and Ridnon. and cou\-ln Rolls were the
hencl ln11ructor1 Jlt the Grude Ac~1demy 11t tht), tune. Roy<C' began
ab~orbl u g their lCdChlrlgs i'llld lc6irnlno oil the details a•'ld te<IH'Iiques
C)lchanged bcrween farnUv membf'f~
Royct- hc<rnn com,-.mln<t In tO\IIIll.ltll<:flb lit ag~ clghL He wccived hi!.
blue belLOlll90 silo. teen ond ...,..\IS promoted to bta<k belt In I~ than two
years. /\I lhe age o f 1f'VCnttffin, by Invitation of hk brothl*r Rorion, Roycp
moved to the United Stntcs to help populanle 8rA:t:lhlln Jiu·j•lSu. A11ivh1g
In America wlthOI.il SJ)Ci'klng., word of £nglrsh, Royt:c immediately Wel''lt
to work teaching. Runnlnq cl.tn<IM 0\lt of tMr g.·uagc.>, Royce and Rofion
taught for hours on end, Their Khool gtew by WOfd of rnouth, and in
1991 Rofion and Royce opene<l tht Grac~ Jiu· htsu Academy in Torrance,
California. Today 11 is one of the lorq<!it INrt&al dtU S<hook m the <OW'Ilfy.
In 1993, Royce got the chance to fulfill h•s family's lifelong dream of
showing America and the world thf' nyl• h11 fam•ly had ptoneeted. The
U t ~te Ftghttng Champ1onstup debuted'" Otnwr, Cokno\do. Instead
of a r~ular bo.x•ng ring. the arena w.H an octagon tnbde ot <hain·link
ff't'lla to kffp the fighte~ from ~pmg ttvough the ropes.

_,_
 Roy<<' was sel~ted to be the Gracie representative a t the- Ultimate
Fighting Championship by his father ,:md brothers de-spile the fact th<lt
h<' had never fought in a single professional fight. Roy<~ Wt)S rlOt a Iota I
-fight movi<<'. however; he had plenty of experience defending the
-tarmly name in informal chalkmges:. Year~ before, the f;)mily had issrJed
th<' f.atncd ..Gra<re Challenge," in which the~r of1ered $100,000 to
anyon~ who could dc:feal one of the brothers in ~ no·rules m.~ tch .
Needless co say, the challenge- attracted many tJkc:rs, but no w inners.
Th<' UFC was broadcast to the largest pay·per·vie w a udie-nce ever to
that date When the tj me came for Royce to fclce hi!. iirst opponent in the
UFC. bol(er Art Jimmerson. the world was introduced to tho GrrJclc lumily
<1nd its. S1VIC. lh<.- fan11ty marched mto the arena in single file, with one
o·f the brothers leading the wa;•for the entoumgc :)rld Ro;•ce in M!c:ond
posetron. It was the birth of "The Gracie Train," a shol.'.• o l unll;· h om d
family dedicated to tMu art for de<ade-1.. A.o; the iigh1 Slt1rtcd, Royct'
rapidly clinche<f Jimmerson. took hrm down, and mou n t~d him. The
boxer, not used to fegh11ng with his bac_k against lhe ground, qulcl<ly
gnve up
Royc:t'!'~ nex-t opponent wa-s Ken Sharnrock. Shamrock hiJd n h ugu
n\lmc in Japom. havmg \'IOn the Pf~itigious King o1 1>oncr~sc litle in lhc
Japanese ptof~sional frght cucull, A ...cry C)tpcrlo"ccd fighH!·r. \'l.•i lh $Oiid
ground · f•gh~tng $kills, Shamrock outweighed noycc by lhlrty ,,ounds. ~
the ligtlt Sl411cd. agaen Royce clinch ~Xi otnd took 1h() 1igh1 10 the grour,<.l.
Unlike his prede<!Msor. Sh~mrO(k drd no1 pnnic or give Ul>. ;md 1hc two
frghtc"' exchanged positiOf'l until Roy<c's grea1cr ~kill allowed h lrn lo
~ccure a choke, cndmg th~ flgh1.
Royce's opponent in the final round wa~ the klckboxcr Gerard
Gordcau. Gordcau was a menacing ligure. standing m 6·s~ a nd 2 15
pound-s, with fong ~s for powerful ki(l:.s. It appeared 10 be a mismal<h
again~t the !<Inky Gracie, but the matd'l followed the s~me script: Royce
clinche-d, took Gordeau to the ground, and procee-ded to chok~ hirn in1o
nebmis.sion U$inQ his larnfly's te<hruques, Royce Grarie defeaJed lhrcc
opponent~ m one- night. aod in the pr<><~~s blew the minUs or tradi·
tiona! martial clftk~. No one coulrl comprehend wha1 had ha ppcr'le:d,
but ev~ryone wanted 10 learn mofe? about the young man and h i!>
combat nyfe. Royce went on to win two additional urc l ilies ~ l'ld is still
the only O'k'ln in the history of no-holds-barred matches t o defeat four
opponents in a singte night.
Aft(!or its success m 1he Ultimate Fighling Championships, the Grode
Academy became th~ MKc.a for Braz.rlian jiu-jitsu, quadrupling in size i•'

- s-
just t ..vo months. Wilh hotdes. of ~ae)ef" studenu kllO(king at hil door.
Royte immersed himself in h~ teaching. hopmg to expand th• rn<h of
Bt.tz.llian JiU·t•UU to th~ greatest numbtr of people. rOf h~ )'C!Jrs Royce
spent most ot his days refining his <raft and his tuc::hmg mPthods. Bu1
eventually, the d rOJw of the nng was too much and the moU re<.ogmzcd
person 1n jlu jltsu was lured back to fight th~ time 10 Japan 1hc- ("Ve-nt
was Pride, tho largest MMA show in Japan and perhap\ th• world.
Royctt's first match wao; aga.n~t a JapaneM! Idol Nobvtut:.o ll)koJda, one
or tile nlOSl fa r1l0Ull pro wrestlers in Japan Royce pun~hed l.lk3d3 the
e ntire flm llhccn·m int.l1e rovnd and Takada decltned to re-turn fo1 the
llOKl. The win "(lt up a n'hatch ~g~inn Kaz.u\hi So.kl.UIIbO, c.on"ldcn!d by
rm:~t~ y (II tho time to b<l the b~sl middlev-Je•ght hghtt"r in tht" world. In
whtH became M ;JII·timt;" clo~uK. and the longM.t fUOit•Uion~l flcJh1 in
fCCCIIl h l•llory, Royce .md Sdkuraba ktcked, punchC!d, und CACh.Jnged
subn, issiOtl Jttempts for an o.1~oundmg mnety m,nute-'1 Only" broken
fool at ,.,e end of tM- 1fxth flft Hn·mmu1~ round for<ed Royu• to f•n"'IIY
Dt:mnd0t1 tho hqht
roday Royce k prwtlf9td 10 'SJKUd thfo tKhn;qUM ~rfKttd by hi\
father dll ~r the \VOfkt He m.ltnta•ns a ''90'CM.n tt•·.J<I1o(htdule!' of
~rnlrwr~ ..nd dasSM. 6nd hi~ ltst of 'tudenu IS YWithout pc<tr Rortt ha\
taught cettbrttits met\ "" Chu<'k t-lorris. Ed O't,.,.,ll. Guy R1tthttt. aftd
Ntehoh:n COC"Il' Hf' ha\ alf.O be-en ver~· -K\1\'C w1th the (lA. fBl. OlA.
~ccret ~ervkc, Arrnv Rangers. Army Spt<~l fOtc~ Na'o')' Scalt., (\nd many
sheri II ~nd poll<t dnp~~rtme-nt5.
Rovco make\ hi\ home in Torrilncc. Callfornld, wtth Ins wtf~. Ml)tiM"lne,
J1'd his ~ons. Khonry, Khor. lln<l Kh<!ydon. He spendt. h•s dar- p..rffl'ctlnn
h lo; o;klll\ nncl eilfJNiy awa•n h •s next fight.

Char·!t•<:
All hl1llfe (hMICi Gracie has been trying to t1ay out ot the hmthqht and
work behind the «:enc'-. Otades. most val~ unpf0VIfl9 h1) te<h.n•<al
skills and hh tea<hing. ak»ng with his paulonate ded1cat.on to h1s
fimily Th'" qUif't and un<Ktuming Graoe-, however. h•s hold the lime
l19ht forced upon h1m cVld heM. risen to the oc.u.s.on
torn 1n Rio de JaMiro. 8razi1,. the oldest son oi Robwn Gracw (son of
Cart.os GrJCi~) and brother to Renzo and Ralph, Ch~r~ notrtcd e..wly m
u. fJmJly WI~ te-armng Brazilian fru·jitsu while s-hfl a todd~ Soon
•ttrr. he was under the tutelage of his un<le, t~ k!gendary RollsG,..ue.

- 9-
 On~ o f the be:st fighters in the ramify a nd widely recogni~ed as the
leader oi the Brazilian t•u·Jitsu movement at that time, Roll ~ would pick
up Charles at his home, take him to the Rio Brr1nco a n d Copacobana
Schools, a nd share his wisdom and techniques wilh his young nephe w,
Charles cam~ to considet Rolls his second f.:nher. In 1981, w l1ell Charles
was seventeen and had achieved the rc"tnk of purple belt, Rolls dieclt mg ~
ically in a hang ghd•ng accident. For Charlc:. the lo:.s was devastating.
Aft·e r Rolls's death. Charle\ took time away 1rom the sport to recover.
The los.\ of his mentor and close friend lef1 him unmotivate d . Soon,
however. the humtv root'i' took hold. Brazilian jlu·jitsu Is in Charles's
Ulood, and with renewed mot•vahon a nd a desire to COI'Itinuc lhc
legacy or his uncle, Charles redcdicated himself to lcc1rning 1he fam ily
art. When he returned, Charles trained u nder Grandmaster 11cllo Grade
a r'd hb undes Carlos Jr. und Reylson. Charles received h is b lack bell in
1985 .Jt the age of twenty-one.
AfttCr receiving hrs bldd: belt Charle-s •noved 10 the ~tf.ltc of B<•hifl,
north of Rio de!' Jancuo, whcre he h\·Cd until 1997. Choules w.u U1c driving
force in CStJbhshnlg the 8razilioln Jiu-Ji\Su Federation or Ba hi;. tmd
became one of the IC'admg ftgures o f thl! spon there, heoll>lng organltc
some of the fun competitions ul thai stJtc. While living h'l Bah l~. ChiHh.:s
met his wife, Tatiana, n1ey have h"o'O childre n, lth..11y ond VIttorio.
One of Ch.t,riCi,'S fust detour} Into the lunC!'Iight came while hC was living
ir• B~hw . When his ~ner~kOO\•m brothers were unavDllable, Chaflos w~s
a~kcd to partiCipate m a no-mles professlol'la l e ve-nt. lie v.•.;a~ mntche-d
against As~uetio Silva, a 231 ·pound fighter with previous l>rolcssloma1
experi.cn<e. Charkts trained for si" months for the fight. In fron1 of thou~
sandi of Krc.lming fans. Charle-s. we1ghing 11'1 a t 180 po ul'ldS, used dil\.\ic
Br.owlt.an fiu·jitsu tedlniques against his largc>r opponem. As the fighl
started, Ch.ulc<s qwckly cHnched. while avoiding his oppone nt's p<"IWertul
punch-e<~ He t~n took Silva down and methodically adjusted h is po!.illon
until h e a<hieved the mounted pcxilion. from there Charfes adminislcfcd
a barrage of pumhes, forcing Sitva 10 1um ove-r to protect hirnself. A1 two-
<lnd..;a4laH rnim.nes Chati(.>S subm1tted S.ll\ra wi1h a choke from lhc back.
By 11he fate 1990s Charles fehthat his mi!.!.ion in Bahia was complete,
and he wa-s ready for new hotizons and new challenges. lie- r'I'IOvl'!d to San
Frnndsco in 1998, where he now maintains his acad emy. Ouril'lg hi~
se<ond year in America, again deniny uncx:pMedl~· called Charles to 1ask.
White accompanying his t<!'am to the Cali-fornia State Titles:. he-w~ asked
to fill in for an injured fighter in a professional Superlight. Because of the
importance of such mat<hes in popularizing the spor1, Charles felt the

- 10 -
ne<essity to figh t. d esp i-te h<:~ving a k~ injury that kept h im from
training. CiHl(fcs rac~d .anothe r bl.ad: belt. The match opened and his
adversary S<ored the firlt points with a reversal from then on, s.atistied
with the lead and the possibi~ily of defe-ating a Gracie family member,
Chatlcs•s o ppo nent played conservatively, bi<Xk1ng dtariM's attJc.ks while
awaiting the end of the match. Wrth less than one minttte to go, Charles
reached d eep Into his te<hni<;al ars<!nal .and, with a refentles\ flun)' o r
ot t..'lcks. Ch arles was able to defeat his opponent with a "'Uiangle" choke.
Charles hds ~pen t the PllSl four ycdrs coocentr.ating on promoting
Br'ilZIIlan jlu·Jitsu in the United1 St.ates One oi his mam de!oue\ is to main·
lJin the sport's aut h enticity. He does this by paiti.cipatirlQ in the organ·
iza·tio n of tournam crlts and Is Cllrrcnlly involved in the or9anizahon or
the American F~d cr.;~ tion of Bra;:-ilian Jiu·Jhsu. 11 w.'b Ch.ules·~ ~Hong
d esire to spread the family tectdmlgs to all thnt cau~d him to see the
need for a book o f self·dcfense tt."<tmiques using the Gracie rn~thod~.
Orlng lng together his cousin Roy<e and good fncnd Kid Pellgro to
pilrticipnte in the proj~cl m<.\dc It a drcoun come true for this 1irefescs
tfcvo t<:c of OrazlllcHljlu·jitsu ,

kid
Kid Petigro h as been lrwoi"VQd in the martial.aru for mou ot his life. He
J llain cd th e r,)nk of brown b~h in American kenpo before discovering
Brazilian fiu·fltsu. His passion ilnd dcdrcatton to the sport earned h im
the level o f block belt after ten years of practice. Peligro is be!>t known
as O rH~ o f the leading writers: In I he sport. Hrs two Wolld Tilles in thc
Masters Division are a testament to his knowledge and commitment 10
the <rrt. Pcligro has a reputadon of being on the <u«~ng edge of the
t cchf'licol development of the spor1. He k u~!oponsible for regular
columns in two o f th e largest MMA m.lgazin.M in the world-Grappling
<rnd Gr.tdc Magazr'ne-.as well as lhe most widety read Internet MMA
new s page, AOCC New o;.
Kicl Peligro's broad involv~mcnt with Brazilian jiu-jitsu and MMA
even ts h as led h im to travel ~o ~he lour cornen of the earth, coverir'lg
Bra-zilian jiu·jitst.t, sub mission grappling. and MMA e\•ents in America,
Brazil, Japan, and lhe Middle E<1st. Considered the ambassad or oi
B(azilian jiu·jitsu, Peligro is dedicated to !>preading th~ word of t he
sport t o a w id e aud ience. As en reSp(!cted personality in the sport, Pe:ligro
has been fortunat e t o h ave studied, traine-d and become fnend!> with

- 11 -
the bert •muuaon .ud pactrtlOOef"S in the Mineu. Pehgro's joornalist
background. ak)ng with his deep wn:.e of commi1ment to fur'1hed ng
the spread of Orctzdran tiu·iit:su. made hirn tho pcrfc<1 pf"f$On 10 1rJn:.•
Ia to th(! technkaues of Roy(e and Charle-s Grade lnlo words. Pelig ro was
.also Uu~ cdllor. cocre<ttor. and o rganizer of Ren7o ~nd R.o)'lcr Gr~cle'~
break1hrough book Brdzilian Jiu-Jitsu. T/lcoty and T!'chniqot;>.

- 12 -
Training Guidelines

~s book Is- suvetured to replicate.. as ~ly ~ pc»slbte. wha1 i1 is

( , ~ke to lake pnvat~ cbsscs with a master Flee Royte or Owt ~
The sequcoce of the positions shown here is the Otdtr th~tlhe Gracie
family his determined. over seventy.. five- )'Cars. is t~ bc's1 for ~udeonu
to learn. Royce o:md Charles went to great efforts to mah surt> the
~oquencc is the best possible way to tranvmt the u.•·<.hniques to the
re"der. In each technique, the <ornrnands 1n lTd ,,,,,ttl are 1\oyct's 11nd
Churlcs•s vcriJtJI comm<mds The~ arc the same commanc:k thai they use
In th Cil' l)fivfllc (,clf-defemE! lessora. Roy<:e n farnous for not waning
tim e with uuncccw~nry words IH his ~nons. iJnd the it31iCi7<-d comnlnnd~
ml1ulc his style. Do this. do this. do that they1-ay By following thern, you
will receive the e·nen<:e of Bra.t1han t•u·l•bu s~lt <Ide rue In " very
conccutrutcd forfn_ Aftct the totrwnands. morc 10-d~!Pih e~tpfdnt~ttOn\,
with Important detolllt of the- move-s., are offered
,.tow often ~hovtd you tracn? Both Royte and Ctwrlei Gro)(tr' rNom-
h'lend thttt .a uudc•n prathce the mO'It'S for • mtrHmum of • h..l1f hour
once 4 wce1c A much better Han-.ing r~tmtn ~~to praUIC.e thrH to four
time~ a wn._ for 41 k!.J11 o~ hour. Not everyOne's MMtylfo c•n tUPPOfl
thb, t~nd It you can only prKt•<e once a wHk for a twlf hour, you vwdl
still get ~ btnefit hom the trtl•n•ng A typ.ul )tudc:nt lr4t•ntng w•th
the mtt~ttrcw tll attend throe to four ~m • week Atthr- b<lld~ th~
\ tucJent will usu•llv be txposcd to three- to f~e te<hmques a da~·.
depondln!) on th~:~ compl4!!x•ty of the moves. dumlCJ the fern GO mlnutPs
of the 1~\~on.
A typlcol ci;.\SS Sl;.\fn with nretthing eJCertiset foll~d by a Wltlrm-up
sc~'lkm In which the student prcparl"S hi) body for the tr~lning. Th<t
strt!l<hhtg llhO\IId concentrate espccialty on the leq\ (t<H•·touc.hct.) and
hlp Jrco (forwM<I ~"'nd ~ide bf!nd~ circling dl<" h1p~ very s.lowly cloc.kwisc
anrl cnuntcr<lockwi~e) to il'i'iure the maximum fange ot mot inn and to
nv01d "' juries such <U pulled mustk!-s. while the warm· up «"JCerc.ses will
c.or,ccmtrlltt on m.aking ~ure all the body jomt\ are loe»e and ready to
p<-rform
A common watm·u«> routine involVE'S citding 1hf' arms, forwiJrd and
bclckw,vd. Uowty at 1un. then graduaUy mcu.~.UJng sptflt to assur~ full
mob•llty The 1arne routme is applied to the- h•ps. kllffl. •nd ankln
Follcw.ing that. concentrate on the nec.k musdn. w.nc• both tourNMtt"'t
com~t•tiom and street f1ghts qeneraJty invo~ s.omt sol't of anack to
that are•. Aga•n. c•rding motions and side-tCKI~ a,rhon \ ..111 ~ure
Lhat the n.xk is prop-er1y prepared.
Anothttr ~rea of great Importance to properly stretch •s tt'lt back.

- 13 -
Deep bends •nd ~•de--1o-sicfe stretches are re<ommended. OJ ck woum·
up exe-rce ~es consishng of bfidging {lit1ing your hip~ up by pushin g o t1
your legs and balancing Of\ the badt of your he ltd, while la~·ing w ith
your bil<k on the ground), circling the uppc• body t hro\H)h its rull
ri'lnge oOf mo1ion. or simply lifling the h ips oH th e QIOUI'ld while laying
on your back for ~t least 10 rcpctJtiom.. will ~u fficc:o. The strct<hing und
w arm·up pcmxl V"•Uit>l: o,•:ith each person but should take <'~ t least 10 to
IS nunutt~
One~ ot te<hn1que is 'Shown. the stu~nt dot$ rt~titions slo•.-;ly, w•th
a w1tlrng p,lrtncr who doe\ not resfst. unlll he bcg1m to comprehend 1hc
fl'lC(hantG afKI thf !~rages that art> •nvotvc!d in that particular tech·
neque It is e•tre~ 1mpor1ant for a student to prcldi<e the techniq~
<Orrl!<11y at stow s~- Do not rus.h through the mova .md sacrifk<!'
COHl'(IOCSS U'l thf PfOC<!'SS,
Mus<lc: mernory only devek)ps horn rcpc11tlon. II o ne- ne ver practlcl•s
Cl mov~. h Will f'loOt cor~ out corre<1ly u r\der durc~~ . A~ Ro yce put.'\ it:
"Speed IJ t1 con\tq\rtncc ot rcpeutlont The w nth lime yo u do lht! mo vo,
you wHI do it bcncr than the hrst tnllO. Afle r f1 leunc.h e d times, you
5houtd nart f~cllng very comfonablf! If you Jr~ still hDvlng proble rns
ilhtr ..1 thouJotnd rfpeotmons. then v.•c have il problpml"' Espe<ially In
self·dtfen~ suuattom-where a pt-non muu dectde, quickty, which
move to lM ~nd how-you can't otfford to w.u:te pre<ious se<onds
th1n~tn9 Thert"fOff", .....~ rr<OfW'W'BMd that yOU drh9Mity ptactke lhoe
tnO\It$ unt1l the-t be<~ olUtomattc. Only lhen wrll you be able to Mve

conf•dcn<t '" what you ~...-e lea.tned. And that confidence c.an go a
long way SomctunM, in faa. you may be abla to defuse conf ro r'l1a tion
before it o<C\IrS, Jrmply be<aus.c of the <aim 1tnd confident way thM you
<Oildutt your~elf. And ewn if you a u~ ;tUnckef1, most A11DCkCr'S a ren't
expe<ting UW!Ir viCtum to nave ready ri!Spon~c~ J l h nncf, so the e le mo rn
of sur~HI\f! you CJltln hom an rnstantaneou!' response will p u-t .almost <~ II
anackC!rs on th~ drfeMive i~iately.
Most ot tht' defen~ •n this boolc are dernonsvated against r~ht
handed .tttac:kM. '5tn<e lh.olt is ....nat you arf' most li~ety to encounter.
~~. you don't want to be at a kMs 1f auiKktd by a southpaw. so
prachce ~ of these povbans (panKUWty the weapons attacb) vNih
tile lefu ~net uqhn reversed {~ualty, you shoutd bt- equally comfort·
able using e•thet hand and foot.
Anoth.-r import.Mt thing to keep m mind when train ing i ~ 1o try to
sim u l a t~••u much a~ possibSe, a real. fi fe .JI1atk. At firn you mu~ maste1
the ~ech niqufl'S by ~xt.'<UtUlg them at slow ~peed ~uHie r vel)' corwollcd

- 14 -
conditions.. but .u you PJOQrt!S.S and b«ome more and more ~l you
net'd your partner to begin to re-sist. Eventualy yout p.an.ne-r should try to
be M •real~ Dl posstb~. dvowmg ~that ;ue ~arty r•a~ $wmgn'19
the bat like an i)tW<Jter would-~ lhc bat., and att~mpung ~~~• h~.ld
lock}. chokf'\. bear hug1. and so on. As you get proficient. your partn<"r
~hould begin to .sttcmpt to ~ntKrpate your l'l'lOYeS and coun1er them.
Or~uillon jiu -lh5Y Wii'S itble to cvo~ into a m.JrtJat art that u~uAIIy dcfeJU.
other ITmrtlal aru by le t-ting new mo~ arise CXJt of tht fttc- !J•v~and ·
tL,kc bctwc~n two opponents. Having a p.Jrtnet who tdn forut you to
1hink on you!' feet tlnd never get stillc- is the- vue key to bc<oml!lg \) top
rnm tinl .u tht.

The lmport..n<e o f t he 8a sics

Retore we !JC!I Into tht' po~•t•ons thems<>lves. there tue two b,nl( I~·
njque~ lh~o~t urc eucnh.!ll to corrmly lum~nq thf' r~t They ''<"
emphas.lzM hett b«ause a begtnn•ng student m•ght bt- tempted to
lc1nOtt' them and move on to th~ mor~ ·~•c•t•ng• Pf>'•hons That
'NOukJ be .i gr"'ve rnnt~e• .ss 1l •S •mpo'los•ble to be 1 uuty ~u<<t'uful
Bnnlllan jlu·jluu tNttl.ll an1st without tw.v.ng .» ~P l.lm•ltat~ty with
dl(!"ifl u~chntques

DoH!".I
In I hi ~ book we: cornuwtly reler to slaying in ba~e- or dropping In bose.
Thl ~ mcM s dropph'9 your hips and spreadnl<J your feel s.o that your
ccmnr of f) nwhy lo; low and you have a firm ba~ of <tuppnn~nentl a l
to <.h: fcnthly L- lurgur. stronqer opponent. 9e<olUS.C 8ra:iUan jlu·jluu 1\,
bMel'l an lcvCI'ollgc .Jnd position, it is no exaggeauion to Sl'\y that your
,.uccc'l~ d CI)Onch on leilrning to quickty get into pro~r bAsf'. ThAt is why
the proper WJV~ to ~t.. y, .md get, m base are the fuu two te<hnjquM In
th<' hook.
One of the wc.ks to maintaining your ba<te ;s to •maginE> a sttmg ttM
to your wa1st. pulling you dO\...., to the ground. K~ptng that thought in
m.nd will greatly help you to stay in base Additionalty, nayrng tn bas-e
involves pla«m('(1t of your h1~ The hJps connect the- upper body to the
loo.ver body. and they iJIC the k<'Y to a<hit'-ving and ma•nt.,,n;ng proper
base. For bl!it unden;tandfng of the con<e-pt you should clowty t-xamme
the pictuu~s. rc•d tht' tot. and then practJce the pos1t10ns. You wdl be!
abllf ro ..feel" when you are in good base.

- IS -
f<JIIing and Rolling

The oth<!r key serie. of tedlniques you must master is properly 1alling
down and property rolling. Be<ausc of their hnpor1iJnc~. these 1echniq ues
are also shown in the first few lessons. Given that in any fig ht situa11on
there i'5 .1 strong polt.Sibdity that you will end up on 1he ground, you canno t
f eel safe in it .Street fight if you don't know how to pfoperly fall. To become
a fearl-ess and unhe1.itant Brazilian jiv·jitsu practitioner. ~·ou mu~ t rnokc the
gro,.md your friend. You are not afraid to hit it, }'OU are not afr<)id to be
on it. This will put you at a serious Jdvolt)t3gc over most advcnfJrle~.
Again, thC>re are some spe<iat points that should be brought up about
proper I,JIIing te<hniqut.-s. Alw.sy~ a ttempt lo keel> )'OUr head u p a nc;l
i'IW.t~· from hitting the ground You don't want to hit your hcud and
become stur\ned or lose consciou\.ness. You sho u ld also not be stiii; let
your body relax as it touches the g1ound. Addi1iorlall\•. you can take
i'lwt•y the impact ot the fall by hitting the groUI'Id with yout l'XIcndcd
lower i.lrm f~rst.

The Importance of havmg an inmmtaneous reaction 10 M J11ack h o ~

already been touched on, but thrs is such a vi t ~l component of lh ~
8rnili an jiu·jitsu K'lf-defense SY1otcm that It is wo rth rci>Cinlng. t>roc ticc-.
practice, practke. Once your reae1ions to t)OSSible :ntl')CkS become a uto-
m~·uic, whhout havmg to waste ttme thinking abou t what the attack Is
and what defem.e should be employed. you will grcatl>' ir\crea~c lire
c Hidc-n<y of these techn~ques. Few viCill'ns have instanta•,co u s
respon40ts d t 1heir dispo-sal. and this element of surp rise will put most
auaclcoers on the run-it they are s1ill olbl(' to. Iha l is.

No Substitute f or a Qualified Instructor

Although this book is de-signed to be the ne-xt best thing to Royce'$ and
Charles's personal dane\. it obvious!)' isn't the same thing. No boo k
could be. An insuu<tor can wiltc.h what :;ou do and give yo u feed back
moment by moment. An inn ruaor can mak<' you 1eel the moves omd
c.an personalize traming to your individual nrengths and weakn esses.
He <an answer questions. You p robably cannot be<ome a self-de fense
c.xpert from book-learning alone.

- 16 -
 Having said that. ho~.r:. we must emph.wre Uwt th•s book ,,. still
uwaluablt to any self-defense student tt can wrve students m lw'O
dtStmct ways. for those w·ho do not have an 1m-tructor. ft can setW as lll
guideline for correctness. You can It am the pos1lt0f\1. ~nd undoubtedty
make yours~lf b-etter prepared to handle any une~tp«ted ~gr~sion .
Them, when yo u do holvt a chan<e to tram w11h an msuunor, you wtll
h ave a g re;n base to build on
For tho,c w ho hiiV4t qualified instruction. thrs book can ~ " '' esst1l
tlol roforc ncc guid e. Cvcrylhl ng seems clear ..,, tM d;.ues. but th!'n you
try to ropcJlt th em~~ home ~nd end up Mkill<J yourself. "W.Jit. what .-.r1'1
I ~up po sed to do next ?" Be inq :1bte to v1ew the position$ ~ t home w hN'I
you're proctlclng m \lkes all tt1e di ffc.•rence~ .md you wm i 1nd youm!lf
rufurrhu-J to this bo ok a gain a nd again

A L..u t Word

Y~ 'earning lh~ ~f-4tfen~ te<.hnaquc m th•s boo~. w tU milkf you

wfer In the workl But t~ bentf1ts of ~,lrt"' lf\9 ol m.lft•,.l .JJt hh
Ot..lt•".:tn J•U·IilW go well beyond liuL Al Ch~rles •nd Roy<~ Uly. •tttt
I"VJQf1dnc4! of Br<l711ian jk.I·Ji U.u ·~ that dll the <.h.,Ucngn .,ou la<t- U\
tw ining wtll help vou ;J<h te~ a high ~~ of conftdt-nct- and ~If
!!Uccm No t only dot-s tr.1ln1ng •n crea~ your <.oordtncntan. but knowing
yo u hnve \U( h conarol o ve r your body (and 4lny phY'Koll \tlu ..tton~ that
'"'"'Y .J(h et) also lrnprovct youll' emotional control All that Wtll mat:l!' you
n be 11cr hu~ln c~~pcrson. n b etter w otkcr• ., beltm 'l.tudf'nt. 01 hf'll<"f
hrothor o r ~ incr. 11 b e tte r parent. Jiu·jitsu helps you INfO that you (i)l)
solvC! a ny sltuutlon yot.• fd ~C. In learmng self--defensl'- nnd jlu·Jitsu, yo u
reoll1c 1hl'lt you arc Gllpable of escaping frorn ex1rt!rt'1Clly adven t' situ a·
tlou ~. Au d thot cxpe ritnce u .;m~la"t es into everyday life ..

-17-
 Dropping in base

The abihty to stay on your feet i~ ve-ry important in a sheet ~i tua1i o n .

On<e knocked down, it be<om~ mor~ difficult to defend )'Oursell.
Therefore, a o;olid base is a mun.

t RO't'Ce r..ands in a natu ra l

IJ(I:.Ot UtQ, I I(~ 1:. f<:lulCCd,
spre.1d sh oul der·•Nidth. hand!i
ft~t

on h i~ ~nk'1, und torso ccnt<!rcd.

f rl)m t hl~ \ t.u~e:c, Hoyce c..,n
qukkty reM I to a n'r' attack.

- 20 -
 2 Drop down: feet apart. head forward, and
butt dow,,. RQY<(" nov.· d101JS in base, He
or.cns both fcct out at the s.ame lime 10 w iden hts
bat.e", le.ans fQrwDrd with ' "~ ttmo, and lcn'le rs h1s
hrJ». He doses his el bow~ by his hlr•s {uld tl(lhtcns
h t~ hand~UHO fi~u.. Hh ba~c is now ~p read oul, but
h t body remains tente•cc.J n •c lvtiun to hi ~ Ieel.

~ 'l'his I~ t ht ~t(l~ view of the COfre<:t p(»tla'e.

~ Notice how Royce'$ hlp-: are ilighlty bJKk
from his f-e-et to compcn~te for the weight of hh
head and bod',' le-aning forward. ._ll'l ~lbo¥x .ue
<lose 10 hl'l w ll!st ami his ilrrm ilre t tght. Roy<:e'i
legs are bent ~ t hJ t he <.nrt quldtly adjust to any
changes by his opponem . It I"\ !mponant to drop
'iUtllght down In base. as if yo.ou are ~ng a ~of
jumping j ack<~. l.n'>tead of nc:pping out to the side.
By property dropping in base-. you w 1ll m.l lnt.) ln
your halaO<e the t:nt1rc t1rne. li you step out v~ili! e
being attacked you run the rtsk of losJng your
batan<e

- 21 -
 Maintaining your base

A key to any sclf·dcf~ situation is the ;:sbility to 'naintain you f base or

S\1pport. If a person <an pvsh or pull yo u ott-balance, you lose <o ntrol of
the situation.. ThErefore 11 is ~ntial for practicing the techniques in
this book that you Jcam to keep your balance a t all t imes.

t lto·~;((' ptlll:; t) n

bad< and put your weight

Ch {IIICS. Lc.lll

on yt.)W b.'Kl( log, bi.•<k s1r01ighr.

hips slightly forward. h ead
straight. By keeping his wt!ight
on hh ,),•<k leu, with his hlp)
forw<Hd and his hc.l<l straight,
Ch arlc~ <:Orl cQvntcr Royce's
p ulllntl :•<:lion. 11 h lmportunt
lor Ch<1 rl~ not to commit too
u•v ..h w uight to h is l).,(.k l~g. (1-r
he will f.11l b.:!ck H Hoycc dccldc.o;
to let go. Thillk ot how your
body i l<:h when you t\r<: pull!ng
on.'\ IOtlC. Till~ 'iltuotlon r c•qulrei
.:. ~lmll u r po,;turc.

- 22 -
 thi~ c.xcrt:IW with
2
f~el
Do
;, IJ(IIlllCI \0 l)Ot {\
tor the comlant sublle
~11 itu in billa not.• uc<.-dcd •

. , Royce pu5hos Chn,.h.os

..~ Posl1 wirft your b<~ck
leg, hfps forward. wetght
o n your fron t 1~. h~;,d
sualghr. J-\g111n. Chatle-;
shlfh hi~ weight to <oon-
•etact the ~ «ion, in lMs
case pu~hi.ng fotwi'lrd and
shl(-tlng his wcl9.ht to his
froor leg, ketjl!ng hh het~d
straight and hips forward
without overcommittir1g to
ellher leg.

- 23 -
Single-handed wrist grab <thumb up)

A v-ery common situation in ~;ny confrontation is for an att.nc:ker l O

grab your wri:st and pull Thti can be es-pe~ia ll>• d iffi cult to escape if the
aggressor is quite strong,

- 24 -
n M#fnt~n
~ up
your baso IIJ't(j tum your wrut
towa.rd the thumb. Bi' 90in9 in the
difcc:tion of t.h~ thumb, Royce 15 u-sin9 t he
strength of hts entire arm against
Charles's thumb only.

Detail
In this detail w e can K'C thtlt Roytc is I>UIIing
tw•'3i' hom \he fov• Hn!JI.'f1 and In lhC' dl~<.:<>
ttoll of t he lhumb.

- 25 -
 Single-handed wrist grab (thumb down)

In th~ v.-,riation on the csupe from the smgle--h;an~ wrist grab. the
aggr~uor grabs. )"OU \-.lth hrs thuiT'Ib po.nung down.

t ChJ!IUS !Jr;1IJS Roytc's right

Wfl~l Wllh h i~ 1(•(1 h OJnd

- 26 -
2 Geor tt br&M Mtd twrtt your tMfst tow.ltd
hls rhc.mb. In tht\ uw- the openrtg
MtYfffn the thumb ~W~d t'- h"lgcr\ ,.
to Roya't. r.ght. Aoyct d1tt<U t~e
escape tCM.ud Ch.ul('\'\ t~umb.
thto ~,a;ken p.att or t h• qrip

Odsll
Not ~ ti\Jll tlw dh«llon Royoo dnvt:. hi' w•iU
·" tu~'lyc,,~, ( h.ldb't.:um to tw111, ml'lklnfJ It
t~)()\\tbt~ t ~ htm to u"\.1\.t and ~ eep the hod.

~ Pull,..,.,, wmr cur.

-27-
..,........ ... .,.....
• "
~-
"
,;.,_
._~

.,-fl _,...,
-
Two-handed front choke

You !le• tM t\'.'0-~olnded front choke a tot in s1rcct fight~. The

.aggre-ssor tltlempts to chol<e- the victun by grabbing the neck with both
hands and squeN•ng 1t. Obviously, this attMk (iln be very d.:mgerous.
ForturlJtely, It 11 easily ~fended. (This ~ape is relatively harmle» to
the <'lfJ9rt.•uor; for a mOte punishing dclon~e. !Pe posi1ion 40.)

btg~ to (holtc Royte. Royn•

! Charles
~t.)lt). tl~

roe<'-
deftnlf I))' t luhtC"I"!J his
m1n.dl'1 to tHI:\'I!nt d1Ul1il9f' to h 11o
011)1\ •

2 Sttp bold 1n bois• mth )'041'

right loot MHJ o.nd torw~rd
Royte takes. a ue-p bid: .....,t,.. N' tttl't
*OOt olnd IO'.'ters Ius tono riOtoc• th<lt
~u .s ~ng t~ pc)'WCf of ht1 tl'lt•'t
body agains: Cha!IM's 1hur~ (\-en ~
\•ery suong attacker w•n not bf •.t-M to
prevent this.

- 28 -
 . , CJtclf! yourhe.d around hi$ tll'tn. f l(nlf}' wt In
~ bas.e.. Ro)'t~ c rtlt~$ h 1> hC{1d .:u ound Chafle~o's
hdnth.. C1<o.101n9 the dto<e.

4 Sr1nd up, fiJts In lmnt of your lac#:, ltoy<e

ends the position ill J cla nl< lighting stance.
In good base wilh fiit~ held high.

- 29 -
.. .. .·'-..........-
I",_ I • I '
1t loll
• • .. 1 .., ..
.... ; ·••!,_.-· ~,
Learning to fall backward

Being able to f~l (.Onec:tty is of great •mport.ante no1 ont)• for scU~
dcfenu but 11lso in day· to-day life. The <oncct tethnique can p revent
the inj\.lries th~t often result frOfn tJu~· tdp~ and falls common while
playing sports or <!vcn working around the yard. Here Charles demon·
strates lht! corrtu way to fAll backward.

"'d rflf'fk yom blt'1m~.

t Put your .trtnS out
Molkt" ~urt.•lhlH yuur 101 ~0 I\ cf'ntf'red abo\'u
yOV!' k-g~ Mld OC)"\ ~~~,)OIIl~J h ) IW ol llf 01 bt\~k .

- 30 -
 .., ~~as low 4J you (,, n, 11 I>O~~ibh: 1•)• letlluu
~ your bultod:s louc.h I hehe-~ls ol }•our Icol.

/1 Slowly roll bDck <md hil the grout1d

"'f with bo rl1 p11lm1 of your hilnd$.
ChMi e~ brt-ak~ the impact of rhe fall by
hiulng th ~ ground whh hi!. hand~ hnt 1~
abo keep~ his <hln 1ud:cd so he <foe-sn't h•t
hi~ heMJ on rhe gtound at the ~od of the
motion.

-31-
 Learning to fall to the side

Famng to the side is pc1h.lps the most •mpona.nl of all the faits to
l~arn.. It r;. the proper way to t1ll hom mcnt thr~ A gre-at deal of
confic:lence in yOUI ab•hty to h4tnd~ • strf'tl 3g!)rt-Ssion ,._;n C()n'l(>
when you develop good ftllhng technique.

Sfl'p fot'W11rrl with your l•ft foot. Th s

/ ...,..,p·~ I'I'IO'o'r tlrlrn ~~up the 1:~11.

~If k,.. lttd srnuh yout

2 B.,d your
rlghr t.g lotwird. Chlrte-s starb ttl~!
mot.on by ber~ocbfKJ h \left leg while belong
out hiJ rtght Jtg bt tht t.ltne l!mt" Noticf! hO'o\'
(.,,'11'~·1 t'ght ann is abo sr.re~etled Oo.~l •n
prep.ar1t10n few the fall

- 32 -
 . , Hit the ground with your butt not
~ whh your b/Jc-1(. I~ i~ important to hit
tht g•ovnd with the buttO<k~o t~ nd not the
b.td:. II your 1 lr~1 Impact 1>oln1 Is your bad,
)'OU arc «!t13m \o hi1 your hc"d on t he
yroon(ll)~ \'~·II .

/1. H~tp lenM r~ lmPJiet by ltirring tM

"f" ground with your tigM •nn. kooplfl9
your hctad vp. t-IIU.ng the g~oond w1th a
perteclly flat Mm ~Nill 9reatly c:1eaea:w the
Impact of the fall. Milk~ sute )IOU don't bend
your tllm •.vhcn you do thl).. otl'ler.,~ your
elbow \'1'111 hit lht; ground and Injury m.ay occur.

- 33 -
Single-handed collar grab

In this da.uic confrontation position, the aggressor holds th~ \'1Ctirn by

the coll.ar with a dored ftSt. From there he can punth 1he victim's face
while maintaining foil <ontrol of the upper body. A sir11ll.:u grip can be
used as a choke.

2 Grab hit wn.sr wnh your lt:ft

l141nd 4nd t«urr thto grip
against your <hen Ro~ u1ot'1 hi~o
ldt hilnd to grab Chatle<t wr•n. ue-
t•old~ th~ 91•P ag.1 ost his then to . ,Step in wiTh your right fot>t,
suren.gthen n. ~Right elbow glued to the hiJl,
your rlghr hand stdk~>s 11/,f t•ltlow as
you step in, Royce stt>p<; f(>f\•Jl!td
willl hh right leg, a t the ~ me 1imt>
using his dght: ha11d to hit ._.nd lift
Charles's lett eloow. Notlre l~ow
Ro;·ce's ••!)ht l:'lbo w is b roced aga1m1
his right hip ior extr.'l po~·,N.

- 34 -
 /1 St•p around wtch your lt!IC I~
"f 1nd duck undttr. ContfO/ thtt
wrilt Th• l•st thfng through J.s th~
hHd ~ con1lnue'> the move. t-Ie
u.ep~ through with hl.s left leg and C" Control (#Mf ;)tm \Yfth bofl•
duch undt't Cl'Htrles'\ rig ht arm 7 hands. KH!p your r}ghr hand
""'* n1ll hold•n9 on 10 ChMies'i ()II his rtlbow Roy<t' •S nt>Yt bc:lund
wmt Noun that t he la.st thing to go Charles wh~e 11111 holding on 10
~ ~ Roy<e's h~ad. (n.o\l~'s ..wrst \'nth h1 \ leh h6nd , /!. Uh his wrist to his e-ar until
ttoo,u·s nght hand holds Charlers lJ he mbmits. Ro~·<o li!JJ>Ii~~ ;)
nght clbow lot (OOtrol. submission ho 'd b)• lifting ChMi e~''>
right wr i~1 io t he d re<:tion ol his rig ht
ear. crt-ftting P• es~uf~ ou Ch{lll ~~·::

right shoulder. /\r\ oppon<;nl muH

~·ieh:t Of l.uffce Y..oul de• d a m;.lg~.

- :JS -
 Forward roll

Few skills are as u5eful to team as the- t oJ\·,•a(d roll. In additio n 10

fighting i1pplications. it con be u~ed to a void injuries. sh ou ld you trip
•.vhile r unning or fall from a bicycle or a ho~l!. It is similar lo 1he
lateral fall onJy in the way one ends the position. Start slowly JS you
learn this maMuver, but as you get better a t it, ;·ou can p ract ice doing
it while walking, rvnning. or even jumping ovel' an obstode.

f SUip lonvMd with your dghr

leg.

2 Bendyourb<xiydown, RHdt
down with your le fr ann until
y()IJ fo11ch th~ grout?d. ThiS t). the
Nl\i~Cst way to ptoperly tea rn the . . , Relldt bad: with y~1r right
<13 rreu rl)()1•on A" you gel mo•c- ~arm as if you wanred to w.~h
proficient. you don't oe+d to ltte-r.)lly ~omcthlnfJ behind you ;md through
IOI.Kh the groood with your hand. your legs. Vou can IH"IH re.;tc;h roo
fa• w hen firs t reaming this pan o f
t he- fofwan:t roll. Tht more fOu
emph.asize ! he reaching mohon th ~
ea~irn ~·ou will make t he roll.

- 36 -
 /1 'nlti your head and roll o~r
1,.-f tk sJck of your back, nor rh•
tplrw It 11 exttemely lrr.portMt to
owr the side of your back (which C'ContJnut: thft roll ~nd ptc>fH't•
li C*kttd by musclc1) and not j'Ou t ,? to hit rhe ground wtth your
s;.ne B)' roll•ng over the musde ~·ou loft h<md. Ma!(e on~: continuous and
prate« your spine from Ctny
~ l""'9Jnt yourself doing thi:s
.ncorreon!y and rolljng o·,er Y'Oll f
smooth motion. As vnth the o thtr
t e<hniques, pract ice does make
p.,foo•
6 Finish lint o, lfle ground, left
arm and lcfr lctg $-lr~tlglu
ht>ad up. Again, make su rt'! •;ou
Md

~ on • ~ street-avoid this deflect the hnp1:1o by hitting th ~

•~.Ucmu g round with a su a.lght Ann II) rwold
strildng it with your elbow.

- 37 -
 Headlock with punches

This is one of the most dreaded situations in a i i9ht. The aggressor has
the vkticn by lhe: head \'lhile using the opposite hand to strike his ·ftu;.e .
Strikes to the iacc <an quickly do serious damage. If the \'ictim doesn't
know the proper es.<ape, it will be a long da~·!

Prstsit
Note the correct '•\'il}' to
Sctvre the ;urn,

n'll v.uionjon is grc.Jt v.·lum

c~iiiM\Q W1th l-1101'1-!Jt"l OPIX>·
nent !o,. ;u 11 oft engre3ter
tonuol of the~~ m.

Charles hcu Royce by t he ned: wilh hi\ tight

{
r1rnl whll(! u~ing his left h<Jnd to punch
l~oyce In the f,lce.

1.~.
2 PUt your right hand In fronr cf 'f{Xlr
Stock the punches! With your IEh a.rm reach
around a"d gn.tb hiJ bit:~tps. Ro.,.ce·s ftrst ..vony ,, to
protect his face and nop getting hit . Roy<P. us~ his
dghl hand to co•ocr his face <I S he rca<hes to bfo<k
Charl e~ 's left bleeps to stop th~ pun:<ht-S. At the
s-.nu.' tirnc, Royce reaches around the back with his
le f~ IMnd and <)robs Ch<lrlei's l eft nrm.

- 38 -
 _., Grab Ms right wrist with your right hand. step back with your
~ right foot. l.lnd look vp o.rt r w tt f1'(/o('k. RoytC'l> right hand 91Ub s
Ch.lrtes"~ nght ~·tn~l and se<ures It to his d1es1. Ho:,.ce sl mv ll <~neous ly
takes a ~tep bad. ming his e-ntire bod;• againl>1 Charles·~ rig ht arm to
re~w the ne<S: hold. It •s ··"tt)• •m t>(Hit\1'11. t(J keep your hCI)d ;:.ligm)ll
with yoorbody as you 1a1:e the Slep; t h·s will give you t he e•;erage ~or
tfN! mQY'I! to work. agamst a strong opponent.

4 MOV(> )'OUI
hNdclear
.l.nd lt(}('p Ms wrlsr
co-nnecte-d to your
~st. ;toyc.e docb
under (h,)rle~'!.
o11m while st•ll
holchng (h,ull-,;'s
HC)ht wrist dose to
h tS Cht':$1.

S Take il mt.a/1 srep fon¥ard with your dglu foot.

Tim. ~>ide view shov.•s RO)•c.c. ;)ft.:o• lt;)!Jing stcppetl
fOf\~.>a rd "';'lh his right lPg, still ho1dlng on h') Ch,lllf'S''i
right wrist With his right nat'ld while controlling Chinle!>\
fcft b«e-ps whh his l e-f1 hand. K~Cf>iog •he ""' ~· r.twcht l.l
to your <hen is ke;·: ewm t he stronges: opponem ca nnot
re1-ist \'lith i)rm Slre-ng th .)lone the power ol Ro}•ce-\
et~ht~ bod;·. ltO>·C~ ( an now easll;• apply- n shou! rl ~;rl(ofk
simp!)' by raistng Charles'S ngh1 wnst upw.ud. (f or
s.houloet•lotk •nstrut,•ons. see- I'O~i1ion 8, Hc.o G.)

- 39 -
 Hip throw

The hip throw is a very important throw in street figh1ing Jl'ld self·
defense. It is used in a variety of situations. a~ ;·ou'll see t h roughotJt
this bo ok. The hip th rO\v is easy to perform an d ca•' be dc-vasta1it,g.
When used <Offe<tJy agaun1 an aggressor, it is u sually a fight end cr.

t Wtth your k-ft homd, hold the uttadl:er's

right elbow and loclc Ills hllnd wlrt1your
.lnnpir RO)Itc gra bs Charles's right elbow
'Mt h hk lef1 hand whllu .'J t the $(Hnc time
locl:ing Charles's right hal'ld unde1 hl~ left
urmp.t Nov.· Ch &t lts c-.am\OI mo.,.c away and
~ ., pe t he thro\•;,

2 Step around co his Jldt' .md hold

Mr hip with ycur righr hand Bt:'
.!qudrc wtfh Chc.> opponenL Royce i l
<arc lui to stil't' glued 10 (hatloei ~nd 111
good bW ln<c in t<l1C! Charles tries to
move awa•t. ay be•ng 1n g<>Od b.J.$A!' and
controlling the hip, Ro~n is a~ ro fOil
( hMies's J Uer·npts to escape.

- «> -
 . , Step in 1trlth your ri9ht foot. M<JkC' turc
~ your feet are square berween your oppo·
nent'S lei't. LO\'.IeT your body and rtidr your hips
outsidt Ms h•ps. It ·~ ·.·e'y lmport~ ut
to h:wc
-;our hfs» oua .Ce oi )'OUr opponen1'~ htpo., so as
tO <Of'ltrol 11~ tx>d;;. II ;·ou don't g~t }'OVI' h tp S
outSide enough. 'J"Qi• r opponent \'1111 slide do~·m
)'OW outside leg rather tha"'' be thrown down.

4 Straighft't,
your legs
,lfu/ !OWN your
llead toward the
ground- Pvlllli~
right arm nooss
~~ tiJe so1me time.
M ~kc surt.: ;·ou
use your leg;. anrl
n<Jl ;·our bm:k to
lift I'U 'd l h i()W
your Oppo nen•. lf
tlou<..• (01t <.•~tl)•,
.,ou \hOuld be in
toloJI tonlrol nnd
In hJII IJolaw;c .'1 ~
you h.:r.;c- yout
opr•oncnl Ul:) In
11H: n r, A gon(f
Wll)' 11) rom·~n ~hi'
po~ turc c1nd
p01 fen lhO po~\
tlo n oS t<l SUU(ll•;
stop when you hcwe )•Our opponent In the air a nd check }·O ~I r
bdl.Jnce VOIJ should bl! \'~ l i' Comfor1;)bi L• ,u\d o.1b 11 10 W:i k •oy , ~ ll
yout C)I'JpoMnt on ~ou r bi\Ck whnou~ losing ')'OlJr bal anre ot
sttuggting.

f:' Let go of ..lll!rythlng t'JH"-~pt Ills auu as

7 you thro\v. Keeping hold o l 1he arm v.·ill
<JIO\¥ you to <ontro youf t>p pon~:n t f)fter he i~
down.

- 41 -
 Choke from behind

You ....-outd think th.lt be•ng <.hoked from behind is one of the tougher
c~tt.td.s to defend against_ Yet there "a ~'V dC!'\'t"f and rifectiYe
defen-se aga•nst th•\ attc~d: .

t Ro;"f<' "'''•1h vp behind Chafle\ and

1.1iMU 10 (t-oo' t hIll Gr.tb h lJ right
w;lh bolh h11ttd1. kffpmg )'OUr ~lbows close
~rm

to yovt body Uy hnlt11nl) on to Royce·~ arm

y,, ,., bo;h ot h1~ .llrns, (h;uiN rcllev¢$ the
d1U\10fJ I)ICUUIC on h ~ I"'I:U. Note thai you
oldd o'IIOI Ol 1\.'\l~t.l(Jl~ by kt't'llll"'fJ )'OUI clbOWl>
dow to ;-ou• body

yo~ cenH!f ot
2 OfO{J in b•lft'. Kl'epmg
gtaviry low~r rhan t<kJC au.Kt:tt•\ .-. key
to m••ltlrul '\lf'p l wcuk

- 41 -
 . , At thf.' S.1tn<" timto srNJfghten out your fegs ;md
~ fo'rver your he.d to the ground, throwing Mm
right ovryyOf.lrhHd. nor ovtU rhto side. 0}• ~l rai g ht ening
his Se<.J> t'lnd loweeing his hN d, Charics prop~!:. Royle
OVCf n.,, head.

/I Keep control of tu'1 orm .u he fdlls.

~ Chaflt' Wilnt.1 to ke-ep In <ont.nt
With Royce'.s ~ rrn so t h.u h ~ ~~~ <Mlfol
h•m on tht groufld. M,lke 'ul'~ you don't
hofd the- ntm too tightly and take awtr;
\Ome of the impact of the: fu~l. but (,)tht.¥
JUSt millnt.:tin <MUlCt JS the oppooont
~down.

- 43 -
 Overhead club attack

If you are ever attatlc;ed bo,• someone with .t dub, the r£><ommendation
is lhc SdrM a1: for any other weapon au .Kk--9tf tJw.ty. Don't tr;,· to be
a hero, \'.'til pons are jvst too likely to utu~c t.c1lou' or fatal inj ur;·. If
you cc~n't avoid the Sttuation. this deiemc h very effc:c1ive.

distlltl~
! Step in "'ith yourltlt fool to dose tile

---- •nrJ THrh tow•rd tN dub wrfh your leh •rm.

uo: .c~ tnt Jnglto ol R..,.,. Arm as t~ trlts to 9ro1b
Qrarles's """''" t•(' ~ hb •nn bfonl around uo·.
th~ bcttc• to _,blOfb ll•c- fo,<~ of the: 'tuote. Aho
ncte Roy<_~\ hard ''" lhf' tonn ot • hook. With bll
ln..:: ~grn togt•IIK'f in ordct to avoid get1 ng ll!t>
th.-nb c;~ht b)' the~·" ''I} of ChJ r It~·,. .,,m,, Once
he bloc'~ the )11 ~~~. ltOYfO will u\.C t hat hool:. lo
keep Cha•h~l>'l hllnd In 1>low lO ho can't 1>ull b.1ck
cwut St11l:c .Jg<Jil'\,

ham~.
2 Grab his wrJd ""''lh ytWt Htr
tMn tNCh atotJt'td lws•rm ""''"your
right h3ttd ilnd 9~ , , . dub doH tO' hiS
h.md 8'1 grabb.r.g ,t..., th9 toard_ RO)(e
miil'l1011ns <orr,uol of Ot "'"" .Htd thf' t ub
(See posr.lot\ 25 f01 lh4: mo¥'01 10 *tnploy 1f
vou '>hould fail to se<u•e J 9"P on ttle duo.)

- 4:!.-
 . , Slrdt: your righr h11nd to ,,,,. Md of the
~ club and peel the dub away. pulling ir
tow.Jrd you Ont:e Ro;·tc':. h,md :.lide:. \0 the
cod of the <lvb. tic h<'J ~ h(' e·.·.:rag•: to fWII
u~ \lf'eJJ>OO h om Chati~\'S hand. N u tt(C
Charte-s·~ wrist ts \1111 :.et.Ji t:t.l b;· Royc~·~ le ft
h,md .

/1 KHp your left h.1.nd Itt fronr of

J,'f yo ur face and hold tllc club. N<w1
In control o f thc d ub. Ro~e still IN In•
taim M ~:~l en postufe-.

- 4S -
 Standing up in base

learm ng to stand up in baw as PnPntialfor self-defense. Other\':ise, i1

you .arc on tht ground lor vrrhatevtr rNtKm and an aggressor
approa<hts. the eXt of getting up puts you in 11 v~ry vulnf'rable posi·
tion for those first pre<ious «><onds..

~ 011 rtwo floor ;~nd

! Put your nght a1m
your ,..fr '""' '" front of your f•ce Your
lrrft J~ ts plant#'f/ wiCh thft •~~~ up. l"Ollt"
logfll ltty o1J c.o(J.fd Oft tiM' /1oor. I'Mdy IO
srnte frO'"" lht\ fM'\tltOn 'toytr can strjke
<t<owk-s's Sctt k~ "',th h!\ tll)ht lt"CJ, ., well
bod1 trom o.t1lkt•~o with
~ P'01<'<t t-~ f.t<.C' •nd
both hrs felt 4!tm 4tlld Ira . It •• m port.lnl to
h~vc your body wei!Jhl dl,.ud>ulcd cquolly
lM'twt't"'l )'OU t tlyht 4Hm nnd l~ f t lt;>g.

2 Ral.f~
kHplrtg
your b<Jdy with yout right •tm
<Jrtd left 1~. stJyu'llq In ~l.tn<• Utd
you, 4Pyt'S oo YfWI Ofii'OM't'tl Royce
be<.J'"' 10 rake hn: bOdy ~ hll ngh1 ~""
ind ttft tg Hotke that hft h pot ( M 1'1'10\"e
fQt\"~oard Ott b.t<k.,.....,d f01 • write to ~rtes\
.(t~ at any ti!'f\e..

- 46 -
 . , Step back with yovr right H:g o:m d go1
...:) in a thre-e-·po{nt base. left hand in
front of yovr faa. Ro~·cc ~tcp~ back with hh
ught leg .)nd 1\D~ .!1 ftrm bi'..e wllh hi~ body
weight dtstlibuted between his legs and right
h,md. From th 1 ~ p0~il101l he C;,'Jn stOr) (h{u lc~
f rom l>uthlng or pulflng him.

4 St>nd up i.n b.u• •nd be ro•dy.

- 47 -
 Gun at the waist

Again,. th(' best defense agains.t an attac-ker w ith a gun is to avoid h lfrl
altogeother. No 8r~2:ilian jiv·jitsu te-chnique works against a speeding
bullcL Should the auacker be close and have the- gun still in his waist-
band, howe...cr. the odds of dis.mrung him are good.

hi~ w"lst .:md

t Chcwies has Ius gun at
5'Wfb to r~ath for il.

r~p
2 Drop down and ln. tfght h:tncl
grttbbing the gun, f.f!ft h<~nd gritbbmg
his elbow. Roy<e's right hnnd olocb <hark-s
from pulhng hi5 hand from h!~ W4iSt while ,)f
the same t ime Royce's left hand helps se<ure
control of the arm. At lhl~ po ru Roy<~'s total
attentJO(I IS focused on con.trolling the Q\Jft.

- 48 -
 . , K«plm) c.ontrol of th~ gun, take a Jtep to his dght.
~ Slide yovr /eh arm ro control Ills wrist his Kt'~P
('lbow close ro you and control his arm. Contro l the <Jrm
\"lllh the WNJ)()r'\ .)1 311 tlmt~o! fJOiiCC Roy<~ P\IY~ lhll l k ui.:Jf
attention to (haries's hand, so Charles can't sv.·lng !h~ [!Wl

.:troond dr.d ~ire at Ro;·te.

/I Hold his wrlu wlfh your tefr ft~trtd and ~nd II

I-fbllck. using your right hiAnd to p oel DWlly the
\\lt'olpon. St1ll tow~ Or\ controlling I he f)ur'l, ltoyco UM.'\
hk left hand 10 ;}J)PI;• n wrinlod:. on ChnriM'S l'lght hMfl,
'vf11lto he pull' the gun aw.,;· whh h l~o '' !lhl hnnd.

Ddt~ if
t~o1k~how n o~·«~ •!riiiJS
the b<mcl o l the gun
wllh h :. 1 Qh t h,rl)d
tor OOtter levcrAg~.

- 49 -
 Guillotine (f ron t choke)

Many ;a light has quickty ~nd~ 1n a guillotine, or front c;hoke, because

the •:ictim loSE'S consciousness quickly, so it is Vl'ry importa n t t o mi'lste(
this d~fense:. We. begin W1th Charles holding Roy<e in a guillotine,
bending him down, J1\d prcpatiog to kne£> him in the i ace.

t Birxlt the knH with both h;mds. You

can't "xcxu t ~ '-' IUOt~r oelense while
9C1t1r1g k.r1eed m the lilce. so H.oycc flru
J)IOil"<h lu~o I~(C by to•m•ng ;, cup with both
htw\dl to bloc\:. Ch31 ,,~·~ ~nee.

2 Srep in wlrh your rlghr foot and Jir

b.telc. Still block1n-g Ch.;ulen knee.
A.o\•ce ;<;!fop~ With h 1<;. ng"\t foot bet\•.een
CI Wrl(!s'~legs wh·le starting to \n b.Kk.

- 50 -
 II") K~p your "rms tfr.Jighl as
~you sir on tile ground.
RO)•te ~ih back hard, propelling
Ch;)rleol h t <'l d li r ~t tQvo\u d tlw
ground.

/1 Don't throw hftn over

"f yoc;, m:.k~ him hk U..
grouttd wffh hlf tt••:~d fl ote
t h1.1 t Royce doc5 not ini11a1&
n \unl '"''-~'"'• ~•lt fot Charlt':
rather, hi ~ obj~<t ~..,~ ~~ 10 rndkc
Ch Q r lcs'~ f<Jt'C lut th<: ground,

r After hb lnr~ go, pu~t·

7 him ro rile 1Jde.

- 51 -
 Headlock on the ground (tramc cS<apcl

There are so many variations on the headlock that one could dedicate on
entire book to the CS(C)~ from the position. It i!. very important when
faced with a situation like this to notice the cues ~~our oppo•wnt gives
•tou: the position of his head. legs. and body in relation to you. The
~ape- you ttecd to apply is dir~tf~· related to the!>e variables. For
inrtanc:e. if his head is dose to you and his knee is up. an e-scape with
"hook! " (position 39) becomes necess-ary. Here, Charles has his head awny
from Ftoy<e. alf.owing enough spacc for Royce to u~C! th~ frtm'le ~ape.

I~U • rm In fron t of MJ (,,(ro, lrN.Ip

t
.1
l'ul your
yovr nghl elbow on rtte ground, affd m ollie
lr:Jme wirh your right hMd holding rout lf!ft
v.>mt. By mak.~UJ .. lu~ l1 ~ mc It O~''-(' ~,'II) kt.:Cf!
Ch.lfiCK 01 even .a much large• opponcnl hom
t.<l~lm9 h11n, tt> t h(' n!)!)•tn o• c"unot !JC.'l lhc
propt-r ~\-etage.

• ] Put your left fotJt on llhe grtwnd, $COOl

4-- yocn hips lHV<Jy, and thr ow your leh kg
over his face. A' Roy<e moves t.Jw3y f1om
Churlcs, the presmre of the ·fram..;. il9.l1fti"l h i'S
fnc<: f01Cd Ch.uh~s to full ba<k, aiiO\•ting Royce
to throw hi~ leg ovet h1m,

- 52 -
 . . , Wr.1 your 1tgJ .,-ound Ius
~ ,.. I. rt!H yotlr If" f. -nrJ
sqW'I'l•' Royfe now h&~ thM1P~\
h('OO 4.-.JU!)ht bctwC<"n h i~ leg' nmJ
bPtJlie!> PIN\\JI I\ ( ,)IJ'ohl(l (tl.lti N
to rtl("i)~ the ~"~tad Od(

ConC~nUe to f4t'I¥.N t.t11UIIw

4
00
$Ubm'U. ~ d0t1n•t I<H
Of Ch,Uib'S <JIM, Olto't'fV,i\e
Cl!ilii4K would~ .ab I! to tutn 10 hrt
toft., tcJI~W1inc:J 1on~ of 1t1<: pu:·nur~.

- Sl -
 Rear bear hug (over the arms)

This is another <ommon situation. The attacker surprises the iodi\·idu;:,l

frort1 behind dnd lock~ his arms around th~ unsuspecting victim in a
<lassie bNr hug. You ftequCf'ltly see this in mu ltiple~,:,tt.:.ckct sltu<:~ tlo,, s,
where- one aggreswr will hold the victim as the- others strike.

t CI~o~tle\ 'urwi~cs Royce ;md !Jtilb1o

him trom behind, tC.:lChiflq o•1er
Royce·., J.~ rm,..

2 Drop in b.tst>- Royce- droJ» in

ba'K! (~ p014ton 1).

. ,Swlng your left leg behind llfs

~ leg artd 11ush your hips closo ro
hts leg to Jrnock lllm off bal;m(l',
Royce s lcp~ around Chi! J i l'~ with hi!>
lett l(i) nn(l grabs. Ch arles ;'lf(>or)lt lhC
knee1. ,'J.,s Ro~-ce s1epped around, hr
pvsht:'d hi!. h ips iulo Churlcs's 1igrn
leg, c.nusing Chnfles to los.<:- ba l<~f)((:.
At thi~ point Charles is off·balance
" nd •S '"'l-ilting" on Ro:;cc·~ l('hleg.

- 54 -
 /1 Lift him w~ your legs and throw him O\•er
'-'f your OOdc lrke a s-ad! of cemc:nrl Roy<o then
us.es hr1> IC'!I\ to l!h Olarl~ o1f
the lloor and heaves
him OYer his back. Charles will end up on t he
ground in a ''ery n,JSty f311 ,

r-::J' Charles falls lo lhe ground

without hitling RO)'C.C'$ leg.

Cdsfl
M.Jb turo yott don'( bood your kn('(!
llb rh/f Of' yov will~~ hun. In thb
det;all. Royce: <l<:mon1twtc'1 II~ ln<or
rKt w;ty to 'itand M you throw your
opponent. It I$ very 1rnponnnt not to
~d your knee while you thi'Ow

D<!tait
5Mnd IIJ bas.f', knees
square to the gro.md, In
thil> detail. noy<e shows the
proper pmture for the t hrow.
your opponent. Th,s ma•t (.)~·~e him Note that both his knees are square with the shoulders, <ISH ho W<.'I C
to fall on your leg and damage 'lOu:t riding a hone. tn this mannc• your opponent will slide down your
knee. lt9 W11h0\11 d3tn;)9109 II.

- ss -
Two-handed wrist grab

We have q!read'J shown two d•rf~rent a<:•pes for the sing~handed

wrist grab. Another srtuahon tNt~ spedal anmoon ~the
two-handed wrist gr.1b. In tha. uw, the MWilJmt uses both hands to
grab the wrist and pull the pcr)On. /14 \VIth the other positions. the
way to e-s.c.ape u to go'" the d1re<1t0f\ of lm rtos.istanc~Ou:~ thumb
{as opposed to the ducct•on of th~ fout frngers).

- 56 -
 n
~
Ger ;n b~sc.
lr:fr l~ttnd qr.~hblng
undttr your tlgM httnd, Because
Charles il using both hondi to gt.:JIJ, Royc:c
tounte•'S b)' cupl)ln!) h 1~ left hond ~mdc1 his
right h;,tnd•

. , UJo the powff of both h4nds and your

.::) body to lift your h.~nd up and our of hij
grip, workTng oJg,tlnJt ht$ rhumb.J. RO'}I(e now
uses hi~ t-ntire tono .1ndl his t\vo arms to p.y
his: hand out of the g1ip. Thuml» dkM\4! <He
not $trong CMU!I'* to f'ti4n this.

- 57 -
 Front kick

The front kick 11 an erue-.mcly pcl'\Yefful stnke. If Mt propN1y

defcn<lcxl the front ki(k \viii cause grNt honn and may knod: the
victim down or even out

t ChaiiC1 and Ro yte lAce M d l o llwr, Roy<e

K tti~Jcd ~nd lliC!r1 w hile Ch ru l e~o 1\.
W!tting up h\i n'IO\'t'

t} Srep b.lck wirh y04.1r right foor M

...,__ Charles nam tht ffOfll kk k. Roy<c
iuH bt ·yond Ch<~th:!\'s. U!tlth.
hnclt~

- 58 -
 ., Gr<~b htS foor wirh both hands. Becau~ Roy<:c is
~ )us:l beyond t he reach ot Choarlcs, he wn easily
c.atth Charles's foot at the er' (l o f the kic.k.

f>dait
Hot.ce d)C' cradle!ike grip Ro~·lc v~ to Wlch Ch.:u h~\'S
loot. Besides being ~1r ungcr thon Ihe regular g rip, the
u.-.dtc will o)llow a quicker
trJr'rSAhOn for pushing
the leg (S1ep 4).

Ddail
Roy<e chitnge~ his
gr1p from the Cf,ldle
befote hP litu and p u,.-h e~
Charles. Roy<e tups Chl'Ules'!> A.<hille-t' totndon w i1h
his left Mnd while h1s right hand g ra bs t he hct•l •.vilh
hiS finger\ pointing up. This allow!. for much fi'Oft"
pu1hing force lhtm would rhe (Oldie gtip.

4 Uh his leg and pw;h him buck. lifting

and pushing ( hades's foot will cause
him to fall b3Gkw.ud .

- S9 -
 Side headlock

Att~du~n love to get theJr viaims in side headlocb be<a tJse of t~

c:onlrol tt •Hord$ them Fonunately, this anaclt c~n be- ~o~ily countered
w1th the nght te<hn1que. Note, howc-vc-,, that a ditle ren1 techniqu~ is
requlre~d if the aggreuor l!o striking you in the tau! v••hile holding you
in the hcudiO<k ($ee position 10). n1is position begins with Charles
ho ld•ng Royc~ In a side h~adlod(.

! Drop U) NH 'W•Ih Y'lll' J.h fotHtm

brkid'"9 lltS I~ Dr d'OI'I""9 n b.»e
Royer ~~~ hom bt'ono pulf'd ckwm. If<"
holcb hiS posturr w•th • \\t.Joght l!ne bet\VM>n
hK he~ •nd gr<Mn and uM'Io tll~o I•• It ton:arm
on Ch•tiei' ne<.k to k.etJ) h1m AI " rHst.nnn·,

t'} Squat do..vn ;,nd put yccw-ft9,.1 hMH:I

~ und«"hisnghr.t,... Ao,w\ftJKh.s
ieft ha,d on Ch.vln"s ch.n olnd aowen
h,fm.C..'tf. "'omtle uo;..ng h.,. •tg.,t Nno 10 l}rolb
under Chaflt"S's right leg

- 60 -
 . , Uft tum by us'"' yow hJps •nd legs.
~nor your N>f• U I\ vrty Important to
rn.~lce ~t )'OU 1.r1 )'O~U oppontnt with yc>ur
hips and legs, no1 you• l:~a~k. 10 f!IIQ•d MY
~ •llJury,

/1 SnNJ.h him do-om. tNAirNJ J-ur. _,..,...

l,.f fU('.t In ycN.Jt hNd ltoy<l: dfot)l Chlw'leS
onto lh~ grou.nd llt<<~~or\Ct (h.lflt'\ i., \tall
hotcl!ng him hl a tltadiOCk. RO)'«' tutk\ ln ~..
chin 10 take ;~way t h t ~•t•h• of (h:~tiM
pulling on Royc~:'t t1C<k nt he dfOP\.

-61 -
 Overhead knife attack

While a \kiUed lc.nift speoalist wouldn't U\P th~ weapon in thiS

maMct. on the- streets you are mcxe likety to entolWlter this stoppy
veD-•on. Ch.arles iltl.ltb Royce with 01n overhead motion. kniie in his
right llnnd.

! Step in w•th your left foor.

rNdt tor Ns wrlft wrrh
your ~ft h:md, ~MI hook his
;,rm. In order to hove l everage
10 l •lu<:k the suikc. lh•ycc tun
hi\ nrm .lt a~• angle bcoyond 90'.
If Roycc'\ Mm Wd\ n1 onty 90',
tht for<.c ot the \ttiltt> mltjn
(.1USe hi\ ~~~ m tQ g1vc enough
U•·•l tho knilo would ICIJ<h h i~
hncly. n oy~c make-\ 'lur(' he
ICI.Idi C'Io l or ( h l)rl(•1'\ wri\t wllh
t., h,,nd lonnlnq o cl ~ rtot ~
rN}Ul.ll l)t'C), to .t'I<Md bf(",-'c;ong
hi' thumb, Also. o"tC! he block:~
II•~ •,1 rlkv, Royc:f' w.ulh to kocp
Charlo-: from IJUII!nn b.1ck thc
t-nllc ,.,'ld whlr'fJ ;&fJilln

- 62 -
 t-"} NDw ,....,,ch ttround with your right
~ ~nd ~ml hold fhe wrist. K~p hi)
elh11w .l!liJinst your chrH lor control. Hoycc
re~t<ht'\ umh~1 Ch arl~'s elbow and gral»
Charle1's wrirt with his right huml .:.bo. ll}•
kooping Ch311t'lo'S 4!-lbow .'Jgalml hl\. chclil
Royce 3~\.Uft.'S t ha i Cha rles won' t pull back
wtth the k.nlfe .

., K~eplng contrc/ of the wriu lind

~ kteplng hiJ olbow glur.d to you r chMr.
~nd forwJtd 1+nd pull hf.s arm down. This
applifi a tremendous amount of tOfq~ to
Ch\lrlei'1 clllow••md he ha~ 10 let go of the
knife.

- 63 -
 Front bear hug covenm. a""s>
•
.w-.Ill.,-......
•• •• ~
• • .. • .L.
: : ,_~ !' ~
,,_,... ~---~
There are many d.logen. hom the front bear hug. including p 1es.sure
on you• s.p•ne or <he-st The attac:k.Cf <a.n al~o bend you at the waiS1
and end up mounted on top of you on the g10und. If your arms are
free 1o defC!nd yourself. there 11. a simple defens~ (t)OSitlon 35). but If
th~ nt lil<kor hns hi\ ~nms over yours you h.3vc to get r~ li111e more
crafty

h&~ l~i\r
t <MriM Aoy<.o In a fronl
hug 0Yl":l the .llllU

2
~11ft at~M
AJt both lwtds M Ns hipJ lind dtop
Nd In lwsf'. H.lwtg both Nnck .,.,,"
on ~ h~ 'tlftll ope:n up tM
14)1kt' n«~wry tor the eteaP'f'

- 64 -
" ' Step ;;Jrou~d to your ri9ht, tft(>n rc.•OJch ,lro1md will•
~ your nghr hand and grab Ills rigflt hip, Sta.)' in base.
Royce keepi hi~ hands on Charles's hi!» for dis tilncc ilnd
~u:p,. ar<M.mcl to (houte:.':> le1t Side v nti l h is bOO)' 1s, t>C•'t)<:n ·
diculat to Charles"s bod}•. Hoyte then reaches w ith his right
hand and <ontrots Charles·~ right hip.

II GrJtl Ius ('lbow wfth your,.,,, ll:wd tt ml iu wm. ji(Jp

l-f' your ''9''' foot. hips out. ltoy(e steps nround Chn•lt:~·\
legs wit h hk. right 1oot and set! up a hip throw. t>lote that
R~·c<f~ fuel nn::
polntlno fon•lilrd
o nd "'~ plaood
lu$ldc Ql Cht~r1u:;·~
l•:ol. ltoy<t:'~
hlp
~'ticks out to the
right o f Ch(IIIU!. I"
ordor to mnlnlom
cont•ol ond not
hiWC! Churlc1: ~lhh~
down hl5 IC!).
Royce's li!Jht IH1nd
holdll Ch tu l o~o\ hlp
liS 'NCII for IOU! I
control.

r7 Stta;ghtM out your legs, bend forward at the

w o)i.Jf (low4!n'n!J yCXtr /N!,td row;Jrd ftt(" grounrl),
;md puR his elbow dCI'OS..$ your body. lto yte f"x~u 1 t>-S
a textbook hip 1hrow.

- 6S -
 Holld up (gun in the stoma<h >

Thi.s is p roba bly the most common of the hold·up situ<Uions. The
a ttack~r h<'ls the gun pointed at the victim's stomach in a classic hold
up. Wa rning: do not attempt to c-ngagt> o:m <)ttacker with a gun unless
th ere ~s no alternative.

2 In ane morion, pivot on your fe.t.

strib, .lnd grab h!J hand w fth yo~r
left hat~d. Since <harle\ has the gun in hli.
rig ht hand, Roy-<e pivots hi .o do<:kwi-se direc: 4

t10n, clcnnng his bod•t oun of the way of ol

po s~lhl e sh ot. At r.hc wme hme Royte uses hi\
lch hand to ~trike a nd conltol t h-e- t~r\od thdt
holds t he 9un. There can be no hesitntu)n
w ith this mO>te, or 't'(lv r.sk being shot.

- 66 -
 . , Grdb the barrel of~ gutJ with your right IJ:md, b11t
~ don't let go of his wrist with your leh hand, Ro;•ce
00\v se<ur~ <ontrol of the b:.ut>l of the gun whilo :>till
making \ure that Charles cannot pull his arm away.

/f Ste-p around
£..f With your
lelt fooL Read•
JfOVhd fus tlbow
with your felt httnd
<md grab hts wrlS"t
:.g1ln Wtth your
right h•nd push tho
bom•l of eN gun
cow.ttd him. NOll<e
th•.u R<.l)'(e tr<l J»
O~ttc~·, etbow

w1th his .'lrm tOt

towI COtlttol ot the
.mn wtth tl~ glm.

rG~b his hand whh your lefr hand and apply a

.7 ~vrilt ltx*. ~~ f~ gun .nvay will• your right
hand. Roy<.e switthes his leh·hand grip fTom Charles's
\WrU (0 the hand v.<lule Chat 1M'S e lbow is still l t<'li'Pcd.
8r bending Chartes-s hand toward his t>lbow, lh))'(t:"
ilppl1~ d wrist lock, at t he ~oame time using his right

hand 10 pull the gun .,w3)' from Challes,

- 61 -
 Overhead club attack (def e nder m;,..,, 9 r;p)

Position 13 shO\'tS how to 5top an attatk with a tlvb by blocking a nd

<at<hing the attJ<kcr·s wrist. But scmctime:s in cmpiO}·ing th a1 d efense
you w illl fail to se-<ure the- grip on the wrist and the attacker will try to
free h ~s dub for anotJu:.~r stfike. This defense is 1he b~t counte r to that.

t Challes ,macks wllh a dub In hi~ •lohl

hand. RO)'le Sl t!p~ in, tef-1 Brm a 1 a 120'
.1ng.lc- to block 1he ~1rl kt, lett h<md In n (lttw
pcnrtion to ~u~ thO: wrist a f1cr lhO block.

.l~
2 lhlt tlnnlft, howt-ve<.
tries to grab the arm with the
ROy(t

d ub, C:IH)tlt::S sled~ hiS ;)rm oJWdY from

Royce.

- 68 -
 . , Trap his arm under your ann and gr.lb Ms
~ right ~lbow w ith your lett hand. Hook your
right arm under hls a un. As Charles tf'i<.'$ to :.llil:.c
<Jgain. Royce traps his arm.

/1 St•p •ro.,ttd hfs ~Q(J with y our rlgtH ~· K"P

1.-f the I~ Jlr<~lgllt. Royce ~teps .11ound Ch<~~~'s
'~"~I~ with hl5 own rightlc:g :'lr~d plr.nUI~ boll ot
t,. nqht foot Qn the ground fun bt.'yond (h:ttki's
n n1 foot. blo(:klng him.

~rm
S Pull his G(I'O.U y om bf>dy :tncl
lo\Wt your head, Keep comrol of his
Mm .111d Utrow 111m. Roycu llu ow~ Ch~ul c!.
down by lnvtf>rlng his head .'1 1HI pulhnu
Ch.:ule!o's .um across lm body.

- 69 -
 Headlock (stron g opponent)

Position 17 explored es<aping from a headlock by m;ing the frame.

Sometimes, hcwtever. an aggressor will be so strong or tenacious thot
he won't let go of the hold no matter w hat. In SlJth cases, a d ifferent
variation of the escape mus-t be used. In this extreme example, Ro yce i!>
caugtrt in a headiO<k, and even though he has used his legs to put
Charles's heild in d v~. Charles still won't let 90. Here is a solutio n.

ROY<C':. wh ile 111 tJ htt~dlod:,

/ l)lll..<. Cha de-:~ h~'>ttd In ~ vlw
with hts l{!f)S. 1 h~ stubborn ( h.') tiCS,
how cvc:t, w on'! le t. go o l lho
lw ,,dlotk

2 t.ct go of everyrhlng•
yovr hlp"f -'W•'Y· put
.t:COOf
your hands on r~ ground, 1lnd
90 to your knoos. Roy<e 11ilt~ a
different e'iCtt(lt, plitf1lin1J tu5.left
toot on the ground and using it
to %001 his hips in " <oonl cf·
clockwise d irection. t-lfo puu both
hiShMd~ on the ground and 90C\
to 1111 fouK.

- 70 -
 ., Ck~r his legs and mount him, k eeping your hands on
~ the ground. and chedr your bitse. R.o;•cc use~ lhs. fl!)hl
h.JrKf on (h.)rr~·s lef1 eg 10 ovm 11 dovm, then achie\'es the
ac¥antageous mounted posttion by o;ming hb nghl leg O\'<.'!
Charf6's hips. Additron<J r;·. Ro)•Ce pl.)(~ his leh knee 'le<H
Ch.;,u1e·n hNd anrl $.\U on h 1\ own hee l for better support. No te
that in tnis posirion if is important to k.cc rJ t he hond:; (In the
ground if\ front of the 3!J!)reslo0r so he cannot roll you l or.\•ard.

/I Mak e a fr.1~ with your otrms on top of Ius '"''~

~ :.md ~:)n In with your olbow Don't tty to pvllyour
neck out; let hfm r.~ase lhe hold be<.JUH of tn. p~s~
sure 011 Ms jaw. Wh le nl,J'Itln9 surt he: \trlt m;JrfHnins lm
bose b~· keeping hlo; we1qht h.-«:k h1tt1ng on his left ~1),
Royce pl aces hi ~ felt tore01rm on Ch;uln's. tdWbonc ;,md
hold s h•s I<: It wt l1t wllh hh ri-ght h.and. <•c.Jtlf1!J ,, fran~ .
H<: shifts hh body wt:l~ht 10 ~~frame. :.pply1ng P't~1urc~
on Ch nrl t~'' jt~w nnd thu1 m,uking him relt~ the hold

r7 Pur your lt:tr hand on hit ft~ce, ICltll

ton'IIJJrd. piVOt your hfps, ttnd p1us your
t.fr I~ OVett his 1Mo11d

R~t- fall$
6 Hold his arm and /ih your hips.
b.Kk. still holdmg <hatf.e<i'~ arm. 8y lift ing
hk Npl;, Royce a pplie$ preuure to the elbow
prn '" a das.sic arm-bar subm1sS1on

- 71 -
 Underhand knife attack
.. .,...,
,;.,- , , /i;:bi
, ,_.-·
II • 4 Jr · •

• • ' I
~--·"' • . _... !"'
More <ammon than the o-.oerhead kmfe attbdc (position 22) is the
undt'rlland kn1fe atta<k The aggressor attcmpu to s1rtke the victim's
stoma <h '" "" upward thru!ot. You shovld pract1ce r cpeatedl~· to master
llus ~irnpJ• ytt tff«tive te<hniqu~ !oO that it be-comes Jutomatk.

~nil!.' 1n his nyht hand bel ow

! Crwrles holds !l
o• nt-iJr 1'11s ....~st 1 h~r~ lo(f> Roy<~ ~rtt1 <itl\ltcs
S.On'le t)'Of' of .ttl.X< from bctow.

:'c•f·Jil
llolt' \1'111" rMOIWI Wir)' to b4cxl(
I~ knttt .u~ gr •t>t h(o I' I)C)','f,

o~
2 tn morJon. Jtf'P 1r1
wirll your If' If/~ .
blotk che knllt wlch yovr ,..,,,
llfm, 11mt hook Ms .Jbow ~~tth
youf rlghr h;Md. A~ he steP\
forward wnh hi~ ltft I~J.
Roy<.- U'\.M hts 'eft forearm to
blocl the • n.re and •t tt.e
1.1,.e bfne graM 0\a~'s
nght etboo.·" w-.th h s r1 ght
hand. usi!\Q the <law g:r~p (o.lll
nve- fingers toge:her).

- 72 -
 . . , Grab his elbow wi'h yovr right ;,,'tnt/ 1lnd pull
~ h;m fDr..,ard. Hook his wrist vvith your lett
.lfm and grab his ulceps ,,..;th your I~It hMd. 1\o}'<<.'
poli O...r l~·~ ri9ht c lbOVo' while ~1111 blocking his
wus.t.. The prenure on the elbow makes Cha li c~
Uep fonvard; othcrv;i~c hc'U bH:bl: his ~um , Roy<.:c
hoOU Ch;ule-~·~ light "•'I t~\ wl1h his lefl arm and
\¥11h h 1' left hand he grabs ChariC$'s fi!Jht lli<Ct)S to
.ncrNle con1rol of the knih: .

/f IJh YfXJ' '-ft elbow up and tnkf: rho ltnlff'

I-f •~ •r- WhenRoycellfb lhcclbOw,htoll'lf)l~
grNt Pf~M\Uf~ to Chaflei''i ihou!Oer, making him
~the> knlftl-

- 73 -
 Single-hand choke against a wall
.,/'a.:-1
•
.' . ,. \).....
•
lito ..-'"
• I"
. . . ._ft.
•
I

Th•s 11 anothtr <ommon aggrewon m a ntH1 figh1 The- bully holds tile
\'ictim bi' the nec.k and ~his body weight to keep the \'ictim pinned
to the wall From there. he may throw a pvnch 01 a knee stt1ke.

n Pivot your hlfJ$ to th• rlgllt •nd hit

~ Ills wrl.rt with your rf9ht hind. Roytt
hlu Chdrl~·,wriu wun hlo\ h,W'\0 S.nce
CI'IMIM h,u a ~t
ol h.' booy \Wt()t'\ Of" ,.,
atw~. he loses hk bal.lnct- •nd t..Jih tCY¥-"iWd

- 14 -
 . , Follov11 thrtX~gh ro Cho wall wJth your
~ t..rtd. RU)"' (' u)r't •PUM> 1he '""' mot on,
lo IO>"ofntJ UUO&JQ._ W11h h.)o tlbow, ~11ld
P"f'PN'"" for .an elbo.Y ~tr ) co

/1 Strfke his file~ wrtlt your elbow To

'i' llnl\!1 th~ move. Roy<t urllces ChiuiC1>).
I!IC41 with hi ~ elbow.

-- 7S -
 Gun in the back of the waistband

PQ1.•t•on 1S dtn"'IttStrated how to neulta,hze an •ggressor reaching for

<>gun '" the front of his waistband. Her~. however, be<:.cnJ$e Chark•s is
teaching behind hts back, Royce <annot \rmply grab 1hc h3nd that
rCJchci for cht gun; he needs to go tor t ho oxposed.elbow il'lstcod.

! Chari!\itmh to •ciJ<.h fo, thn gun tvtkcd

,,.,,,h,
Into the b:.tk o t h 1>

~t•lt
2 Step In wfth your toot Cup h1•
elbow ,vnn your tJqhr "~· wh11~
your S.h arm rNct..s lh10e19h olltd hokh ,,.
...,.olbo\v

- 16 -
 . , f'utl l'llm forw.trrJ by lit._. t>lbO\V. using
~ yr~u1
... /f•(f Arm fO frap his right ,,nn
Grab '"$ llflht tl'k.<tps with yor1r lt"fr fumd,
RO')'CC! puh~ Cluulr•.'~ r bow tOW9rd l1im, The
P'I!Uvr~ f10111 1hl\ At1•()1'1 On ( h ;')dC:.':.
ShCMIIdH m"'
N him U('p tOtWIId IIOYlC t he n
WI olin h \~·I 41""' .,IOIJ!1d (h&llts'S rig ht o11m
""" t-~ .,.h h.••w:~ 4l' Mn C.h~1 e~\ 1Jgh\ u l(t"fl~.
lompltotf'ty d~~""l!'\,)tlt)l) tlwt d'nt

/1 !Jfr your t'ltJoOw .up lor ptti11Jf'f' Md

~ r.1h rh• gun 11 \..-ay By lihmg h•\
tl'bow. llloy<e apphe\ a grC!ilt *•'
of Pl~'~•t

-·-Owrlr>'\ 1houtdrr, Mod"lng him rtfu~ 1tte

-77 -
.,. ,•· ...... , ,.
Side kick
,,;-_ ·,

..• _--·..
·- ..... J • •
..,.
........
_,...., "
1N: :u<fe kick is a mun m your personal wrvival ars-enal This VCfSatjlc
str1ke <an bed very power-ful bfow <IJNble of ending • ftght. The
targ•t of the \:itk w111 vary dt?pencfing Ol't the \Jtuation and pers.onal
obll•ly. but it rs gencr~lly duected toward the sto mach area o r t he-
knee De vr:ry <areful when p racticing this ki<k against ~O fn cone else,
c11 you may e.asil)" breltk their knee 11. is better to practir e the side kick
.:~go~ltts.t a dumnr1 or a kdang po<>t

t ltoy<t' 1md Cb orles

~qu~He off

_,. _
 J~g
2 Cork your righr
baclr. Bend }'OUI lc h
1cg ~ligh l ly :)ntl (fl)ll' t l~n bn(k
100 mut h, olhcP.\IIW!' ~·ou m,~~·
I~ j'OIH b<J itlnCC ol nd ICd\ ICC
the POW'( '! ot lhC kld t•

., E~~:rend eM l.g ~rJd ltlck..

~ Kfclc lhrovgl• yot.otr oppo.
Mnf. FOt 101111 I)OWCt J nd
efft<tlvencss. h l1lrrt~10rc.tnt to
omptc:te the k!Cklt'ltt rnollon
,, tf yOIJ .m~ kicking right
• ~tough your opponent

- 19 -
 Guillotine counter
to a double-leg takedown

The double-leg ta\edorwn c.an bt: an •Ht<tive means of taking an

opponent to th e grolMld tt (in be su<<essfulty countered with a 9Uil·
k>tine choke. You can ~an aggre-ssor begin 10 set up tor a double·
leg takedown be<:avsc ht wiQ 1atce • forw•rd step w'hift- lowering his
body rn p reparatton few k.lngrng .)1 your lne~. To have a successful
double-leg takedo-wn.. tM •ggrPuor w1ll !Jrltb bt'hind both your knees
•.vhile having his waist below yoVt w<JM. IU wit ll All de1e nse tech ·
nlqucs, timing •s very imponant. lObe aler 1 for l he~e !tiQI'IS to help you
1ime y<>t.Jt move.

! Sh•IJ bilcA J" ban •nd

hoolc lliJ l'l•dr INflh ~ur
tfqht ~rm 8y stepp nq twck II'\
bMe Hoy<t• o~ckh dkt•rN:t- be
l¥1t..~fl Chttlt~ Mid hun~lf.
m,tl.loq dltlcvlt for Ch•fi-H
to gr~b hh l.f'lt-t'\ (v("t'l I
0lJI t~ 1utttf'Ch ,n qr,)blH"9
IIO)"('e·\ kt~'M. he won't h~

t he proper ltvf'l'&qn 10 pu
novlo•s knees to h!m, bHauw-
ltovrc 1<: u• ~.~ rf«t 'IJti.'lwllng by
keeping his hlp1 torw.utl !lnd
dowu (l hO :IPrtJwl h:. common
d~ I M~C 3!)1lin\t t he do~rbl t ICfJ
,,, ~cll owrl).

-80-
 2 Grab your rlgllf wrlsl
with your fef1 hand
OJnd OJdjusr ;md lighten th~
gnp around his neck. lloy~·~
leU hand grabs his righ1 wrist
.1nd <in<.ht'1 his ~~ m :.rovn(l
c-r-..ule1's ".:tl(. makln9 a 1l9ht
noo~ around Charle!1's h ~i)d.

. , Pult your rigM wrl.st up with

~ yom l(!lt hnnd omd squttNtt.
Royce'" left hl).n<l pull1 up hh tfght
wtln and Jr.-11, applying flle1.~Ult to
Charlei's n ~ck .lnd cho<.lng h1m,

- 81 -
 Collar grab with a twisted wrist

In this. famili.:'l1 .s<enario, a bul~· gr.;bs you b~· the- shirt and hl\•ists his
wristtto add pressure and<ont1ol. nt~ tvl!ist is generally used when an
aggre!.sor want\ to control you by lifting )fOU up, as o r>posed to using
.a straight grip to push you back, as shown in position 8 .

2 Grab his hand In both yoor h•ndJ

and se<ure it to _your cMsL K~p
yout etbows doso to your body and start to
twist his wrist. RoycE- cradJe-; Cho1tlti's lu~nd
wilt. both his h<Jnds a nd s..ecures the grip to
his chest. s.,. kee~i ng his own etbows <kne to
tns body. Royce adds le•,·erag.e 10 hk hold. He
then be!) ins to twat Charles's wrist outwovd.

- 82 -
 It) Tal!e a step wUh your right leg,
~ piAIIf t~ 1»11 of your foot ,,.,",.
his toot, and continue to twist 11/.f
wmL By nowCh;ulcs i~ tomplc tcly ufl·
bi•IMl<e !lnd te.:sd;,• 10 tnll Roy<c r>lo" t:.
hts flQh l toot next 10 Chcu res·~ rlgh1
too1 >0 tt\31 ChJth!'> ""n't n1ovc to hi>
rf9ht IO t.lkc pt ~loU I C otf his Wrl\ t,

4.
Contfnuo co tw{rt the wri'Jr
for chc lltlcctdown.

- 83 -
 Sucker punch

Many tirrtcS .& fight '-Ylll begm •,•:ith a sucker punch-an une xpected
shot ttt~ the face. These come quickly, and thC(C c.:~ n be little ad~qu n le
time to defend your.self.lf you are in an argument o r other situatio n
that you think could turn vtolent, an excellent idea is lo keep ;•our
hands high c:1nd ne<Jr your face. just in case. To avoid ~seal.:. ling the
situation# you can drs,guise the real reason ;·o1.1've raised yo~Jr hand s,
such <IS rubbing your hanch together a!. 1f they we re cold or op-ening
them up to m.a!<e a point

f
~nwd
(httr!cJ <.O<.Io his 11ght houd umJ
beglm to throw a punch. Oe-cnuloe' hc-
dfngcr, Ro)'ce o11ready ha~ both h 1~
hlmc.h htgh .,nd ne.JI his face to hove "
~rter dr~tance to block .lll}' ~trii:~.

2 Step In and blodc hit .:mn.s. Pur your

p;tlnu on his bleeps, grab his arnu. :Jnd
don'f lot him pull b.fck. Al Cll<ule1 takes hi\
swing, Royce s!efM in a nd block$ !he pun(h w tth
his loh hnnd. He a lso blocks Charles's tEh arm
with his righ1 hand to tM>id ., se<ond slrike.
Again, Roi'ce uses the hook. Ot d aw, gr1p tO
keep Charles from pulling his arms bade for
anothet ~tri ke.

- 84 -
 . . , Hold hi.s dght elbow. st~ Bl'tWrtd wjth your right foot. ;md wrap your right
~ arm ;;uound flis waist. Rcvjce maintaim. control oi Clt.'lrl~s ri!jht tlbow. t;)k<.·~"
step around <:hadt'S's lcft i<'C_;.. a nd grabs <hades's \'Jdist •uitil his righ1 arm. 1\o)·C~ I~
now in the pertect posibon t o exe<Vte a l'Mp throw. At th•) point it ~~ ve•y important
for you to be m IJ<J~E. beca use yoUT opooneot '.\'ill tty to sttung'e to gel :-m..,:,;·. ny
staying In ba~e a nd har.glr\g )'00f\Ye19l•t on hrm you w1ll eastly be able to toll ow his
auem,as to ~K~~. Theil' will bt' ...
moment in v.•hicn he ~t op~ stnJg!)ling
and rl!'groups for 11 s next a tte mpt a t
e-Kapmg. Walt f o• 1h-'t n\(H'f'ICt',l to go
to step •1. It you ;r,• to go lo slep a
btfOfc )'00 h:wt' t otal ~ontr ol o l )'Our
opponent, ;'Ou ma)• lose YQ\Jr balance
olnd fall do\'/n w i th him on top of ~·ou .

4 Sftp In froM of h im with your t l9ht

foor and do ct hlp thtow. Roy(e \ttf>i
ft'O'lt of (hath!$ with hJ\ right foot, make1.
111e J, t fi!N'!'C ift SCI I.Itlte~llld In~~ of Cl..,rfe\'~
'""- iY'Id elt.Kute-s a hip throw.

- 85 -
 Headlock {bent dow n )

Po$ition 10 demonstrated an es<ape trom a headlock in which the

aggr<.OS.!>Of is also punching you tn the face. In t hat scenario, ;•ou n ruS1
get in base quiddy and stay upright. Here, the aggressor bends you
do•Nn - seeking to contro1. to)1her than pun<h, you - which allows
ror thl:s (!S<.lp~ vari.lttOrt.

i~e
! Block hfs w i th your rlgltt hMd tmd
hug hl.s hips with your le tt h~tnd. Royce usos
h1s ugln h~ nd to prevent Chadc~·s le tt kucc
from striking h!m In t h~ face. AI lho \llllle t ime-

he gmb!. (h~u le,·~ lcrf1 hlp wilh h11> 1<::1~ hlJnd.

hi~
2 Stcrp (nsldc legs wWr your
rfghr t~ itttd ~In fO $It bM.k.
While ~ till blo<king the knee, Ro,.ce steJ»
between <harl{"i':o; tcg\ vmh hk tKj ht IC!g
and begin\ to ~it do·.vn. 'iimult;;t'1~\fy
pulling on <hart ~·s hip with h 1s k!lt hand
Se.-. poslllan 61 for an ah.ern.au...e <S<~h.lr10
in which the aggressor prevent\ you from
<:"<.rmill9 ar(lund the front.

- 86 -
 /I End up m~nlcod on lc¥J of
l-f' him l'tJt both h•ndf M tM
ground olfld <h•clr your b.-••
R<l'/((' C'fiCh tfw t<ltl mounh!d on
tap of Ctl,lflfl~. bo1h ho~rKh on thto ground for b31Dncc. He kccr» h r~ left knC"C (IO)e ~Q
Cho~rle\'i t\(1;~<1 Mid hi' ''tlhl foot <m Ch.ult"l·~ hll> to IJ'l'\'t"nl Ch:u t e~ h om eS<oph'9·

S Mak• • fr•mco and pur yourwC!'Ighr ort itl&

}dw I rom here lloy(e r.ln me lhP ftttmP
.d'lown tn pcx1tion 26, ucp 11 (le tt hand In lto nt
ot Cho~rf~\ JOW, u!)hl hand holding his own tef1
wfJ\t) to releAse thf" nN'k hotd, or he can simp!;·
piJO(h h~ w•)' out.

- 11 -
.... . ... .-
......... -7
Front bear hug under the arms

..
•

.,, -· ...
;t -..,
..
~

The front bear hug can be~ ~Y unc:omfortab'e situation, espe<ially if

the .:ntadter tS very strong and starts to •pply pre1.u..e to the
defender's spint. Tht dofem.e ft s•mp.. and ~fft<tn-e. lithe attack~
ha~ l'us arms around yours. ho~r. you must liSt" the defense
outlin«<•n pc»Jhon 21.

2 St(tp b.Kk w;rh your right t.g

Md pnn both p.Jlnn of your
hllndJ MJi)lntt hb chin. ft.c)ya lake-\ a
Stc'p b.Kk Wilt\ tiK nght lf'9 .. nd pt.tVles
(tt;,v~' <tlin with ,fl.?. palms or he$
h.lnch to Clt'Jte \OaU' . Cha•tes·s ned
musd~ iflt no mat<h for th~ pc:r•'llt'f of
~~\ .trm1. ard ne mus:! gJo.-e ....a.,

- 88 -
 . , Alsh hiJ chin up 1nd aw.-ry. H.o}'CO adds
~ more Pf~WIC Of\ ChiJth~>·~ chlu " nd
ne<il. by ttu~lnf\fJ aw3y with both arms.
(h•wtM ~~ fO«td to rtle,u<' the hold.

- 89 -
 Overhead club attack (charge>

This situation is similar to the overhead club attack shown in posillo n

13, C)I.CCPt here the aggressor starts his attack ffom a d istanr;:e. His
swing w ill have too mud\ momentum to be stoppe-d wi1h the turn
catch describe-d in position 13. In this cone a small adju stment nct!d s to
be made.

!Chnrl~ <:hllrgcs ll.:l)'ce f1om

1.1 dlmmcc. )Win g O!J n club.
Hl1)'(~ i!o .11 lhc r~>,ldt Stan<c
nnd ruhC$ hi'i left .um 10
PIOt•:CI himw lf fnJ•'I'I 1h ~ <trike

2 Jtf'p m wlrh your ll!ft toot lind sucrch your

l~fr arm compl'f'l411y stmlghr. Glue your
jhouJd('r to your fMe. Sh"e ChMies.ls SUI~Infl f.orn
a di mu\(e and hll!t -.o rn uch momc n!U m, R.~·c-£> usc~
h1\ suaight am1 10 dMINilhC· blow and lnke away
•U po-.•;e1 Oy keeping lm arm instrl t- •he line of
auac\: ot the (lub, Royce dctle<:U 1he blow, To
ft.~rthet pro1ea lm hrnd, R()}•<<!' f)lt:~scs h i~ ~houl dar
''9"1 10 h 1 ~ Cdl, tdl:ing awa;· an}' posslhiP. g,~ ,, ro,
the dub to stnke h•s head. 11 h mportan t to main·
' '""~straight a line as pos~iblr betwcer'l }'Ou• mm
andynur 1t.»SO. SO that t hrt dub will slide h afmh~%1)•
down yom bod~·· 11 Is e~u allv important to mal:e
sure you step inside 1he d ub's llne o f (1ltack,
be<auU:)'OI.l do not •Nant the full for<e of L'le blow
coming down on }'Our .'Hfl'l.

- 90 -
 " ' Jl'J)p his ann under your armpit •nd Jl('p t~rocmd with
~ your right leg. Control his bo.ly. RQyn• Itops (ha riN's
Urilung Olm• under l••s ,,,.,., aoli 1M'Ia '~'~ 101 01 hip throw,
m..t~lnCJ \ute he .s '" ba\e and ,,.. control of Ch:.•le)>

s..,.,.....,
4 •nddo" hlp
throw. Ro•;ce \tep"'
onound Chorlcfo,
lcrt leg. "'llll'lfh ul
b<tse <'1 1 Charlos's
,il.lc ,..,.,,ue >IIII
1oulm lllng l ht' cluh
nrm, _,nd gch :tel 1(1

do a hlp I h.-ow

11>0< '""' 11)

s Thohp!h<OW.

- 9 1-
 Choke and drag from behind

Th•s ''" s•m•lar to poilhcm 12, but here the ).tlong altatker has
mana.gcd 10 nJrt pulling th~ defender bactcward. Sine~ you are being
dragged bdck. you can't drop in bMe and uie tke escape shown in
po~l ttOn 12. Thk defense w'lllge1 you OU\ Ol the iltua11on ttnd put you
in .;t d omlnont po9tion

! Put both INnds on h/r •rm, kH>p

your f'ibows dost ro your body.
and ~t )'041' body w.lght ~ll9 from
his •rm. Ch.irles lM'S bolh I"~ IO
grab onlo RO'J'(t'1. ctto&Jng ann. 1.1\Jng
t~ ..din.,.. gr~w~th Ml five fngc1s ina
hook. He 1(«1» hb t:lbow~ clolot' 10 h 1~
body (Of rxw• le-vtifyct and hrmg~ hh
\'~t on Ro~·te'' 1nm 10 •ollc.•vc the
fUI."S\ute of the thokc on hi' nf•<-k.

2 Sr.paroufld""''hyourriql!tl~
and pl~nt ~, toot bMittd M
)l•
ri9ht kg. This a<l en Ro,u trom
COI"ttnl.nng to dr~ Ch.w1fi ft" wnpo.--
tant for ChaTih to •CC!P hAng~~tq h"'l
wcigrlt on Ro~·ce'c; .a.t m 10 <~dd to the
effe<:h~nffi of step 3.

- 91-
 ·D etail
Tni\ detail ~how~ Churles·s
perlett hond position
for the lhrow .

. , In on!! motion kick your left leg around

~ •nd change your grip from his loFOOrm
ro hl.s bl~ps. At t his a point, Ch ~u ICs'lo fc~ t ill<l
in a S1t.Jight lin~ Wr1 h ROY'(C'S, lill light le g IS
"m tr41l tting ltoyc~'s. right leg. Charles
tholn!J~ t he g r~ p cf h r~ rl!)ht hond from
Roy<:'O'\ fotc~u m to his bleeps In order to stay
119M 4nd have more t>Owor lor t he throw.

/1. BMd body fonv~rd.twll his

yo.u r
"f' acror.f you, and thmw him.
ltrm
Roy<e Colnnot h£'1!) but fall, bt<ao~ hts
lf!gs are be ing blocSte<l by Chat~·s
right l e<J tlnd he c:~nnor '~>t ep badt.

- 93 -
.... .. ....... ...
Hold up from behind
• 1 'V
-
,_ . -. ....
:
r ," ""' ,.........
- -- ~

Muggers love Lhl\ tedvlique. They sneak up bfhind you, stick a gun in
your back. and demand your money. Thi$ dC!'tc-rue wo1ks., but, as w ith
<'Ill we.apon\ eSC:iiPff, it is very dangetous. and should only be used
when you fear for your liie and there is no oflcrnolive. Here, Charles
has-. gun touching Royce's b<Kk.

! ~(Off!
,_.nd
Y'XI sf.lrt r~~o.., mow. It ls ;mpot·
t.anr ro r•ito,,.... b.Kk ~nd s• whidt
has thfo gun. rhr• WI II dtt«mlfte which
w.ty you ftUPf• .s you •'~'.t)'J v.· '"' ro rum
mto 1M gun. lht idct hrte iuo hHY'I "'to tltt
body of lheaggrcnb t -.oyouun DPI''ya bear
t;uq If lht gun n "' 11-.e at1.l< kf•t \ 'lgkt hor.d,
J"MWI on yout tight l oot: II 1he !'JIIIl I\ In his
tch hand. pi\101 on your lttft loo1.

2 ~t't the gun b Jn h u ri9hr lwfWI. to

in one quiet rnobOn pivor Ot't your
rlgltt 1tg MK1 bNr·lwg him owr hi' M1'1K
Aoyte mate\ 'kit'"~ ht .Jio·m no ~ (Of
Cl\.;ut~ to mD¥e and hatch Ch.ttlt\'J ngtu
e(bovJ Wl!h his left hand so that 1\fo Cit'\' I p~l
the gun bact and shoot .41t tum
 . , Tr.lp M s tlfJht ~rm wJU1 your k:lt ;um
~ Mtd step around to hh side. Put your
right h;JnrJ on hrJ hip omrJ control him, RO}•tc
.ld)t~U "'~ (C)fiii C)I (J\'C'f Ch;)IIC~~ right .'lll'n by
trapping rt under hi s armpit li~ 1hen s t ep~

~ound. <onuols Chnrles'S hit)S w i;h his right

hMd, tmd th<!<l:.\- h t~ b.nc.

4 Step t,. with your right foot

artd thl'owhlm. Roy<e neps
In ·.vilh hi:s ri ght foot .:.nd does a
hlp throw
 Head lock
.....
• .
·-
.' ---- ,-:.
" • ' ..... ......
• •} 8 •
_,."" ·--" .. • -
!hooks escape)

In this. v~uauon of lhe head odt. Chartes ptCVCOts Roy<e from u!>ing
the frctm@~K~~ (position 17) by kHptng his hP>IJd close to Royce's. He
.;~lso .....olds bcul9 taken ~rd and down (,;n w•ll be shown in posi·
tio n SO) by kctplng hn left knee up and his fe lt foot pl a n1 ~d on th~
ground. How~v~r. seeing Charles's left knee up Is Royce's eve to u:;c
the hook$ csc.ape.

t Grlb h/1 lef4 sltouMtr w/rtt your

lttft h1nd. Roytct !)lllbS ChBriC>S'$
ltfl ~hO\.IIdt• 1nd trlt1 lO ~wing his
l'llfn •"••t lrom ChJriM to b1lng him
ckrwn 1vt Cl\.lflc11ntic~ttt ftOV<e'S
p!~ .tnd '" 4dt 10 p&anl tis 'eh leg
o" thf qrC)ufM:t 10 pt~nl tl

2 Hook htt tofc kneo with

yo•;r left leg. put your
right hdnd on 111• ground, pwh
forw1rd off your fo.,., Jnd go to
yout ltMts an t¥ o/ him. Oncf'
Royc~ rto.llun ~ cannot bnng
Chlftei down. ht- hoo\i Owr n~
~'1 ~ with his OWf'l left eg
Aoy<:.t 1ht"n puis h s rigl"rt hand
down and pushf'S off his r•ght
toot Mtd hand lo get
to his kn~
nnd end up on lOp o( Charh!s,
wl!o lalts under Ro.,.(e's prt1Surt!

- 96-
 . . , LN go of tV<'IYtlll'ng . Pul bQtlt lt:Hu/s
~ on the ground <Jnd g~t In base. Keep
cummg him over. Ro>"<t puts. both o l hi ~>

''"'~I> 01~ thl• 9•01.md anU move~> over u11ill 11\:

h.as Ch.ltle1''5 left s.h ouh:te-r o n the ground.
RO)'H~ is now in the side-mounted po~>ition.

RQ~"<C keet,s. both hJnd~> on 1he 911.lU11ll. one

in tron.t o l C.hal1es·~ face, w ChnriC5 comnot
rot1 hlm~t .

/1 PUC your left fo~ltm CWI his lot<#. Gr.Jb your

t.-f' l•fr wrist with your right h.1nd OJnd ~II'«'<~
tr ·''* Put prfi$juro on hl1 (j~ by tuntng fon11frd
o til• frame unr/1 he leu go. Ro;·ce puu his left
1 rearm on Charlcfs. f.tcCI Mtd mllk~ d fr,)mt by
gr•b~ng hli own left wr•n \ •Jtlh hk ttght hand,
•oyce applies pressure to Chatle'5's jaw by Ienning
torw.1rd Into the frame, forcit1g Chari~ to~~ go of
tt-.r hold. Roy<e ( an oow .'IPPV}' an Mm·b.lr ~uhmi\·

$iOn. Of" punch Charles if n ece:swry.

- 97 -
 Fro n t choke <stro 119 aggressor>

We have previously shown in pos.itton sa very basic and effective way

to defend againrt the two·handed front choke. In that esca pe, Royce
avoidc'<f the choke w1thout inflicting any p nin on the aggressor. Th<:~t is
u seful if you have gotten into a tight with 011 friend and simply W<:'lnt to
p tote< t yourself. In this variation. Ro)•<e choose-s J: more ;:,ggrcssive
approach to the <'1.atpe then ~nds with a hip throw. This variation
works extremely well against stronger opponents. It is also s u p~rio r in
the cvc:m that the choke is applied against a wall.

!R~~ o.HH)llu Charle~ with a two·

htwlded fro-tu thokeo.

2 Step forward w irh your righ t leg• .shoor

your rfgt,c ;~rm .scra(gh t up through his
arms. and grab his right el~w wSth your lclt
hlJ nd. Charles steps forw.ud and breaks Ro')'(e'S
grip by shooti(lg his right arm straight up
through Royce's il r»lcS v.·hile holding RO)'Ce'~
il!)hl oiiJow .

- 98 -
 . . , Pivoting off your rigM foot, ~lt'p l.wck
~ with your leh leg, both feet pointing
fonv.lfd :md in~id~ his feeL Wrap J•our right
~rm around his n.,rk Md !Jt"f your ttlps out
lor the hip throw. Charles prepares his bod ~·
fOf the hip 1h1o w . Pivoting o lf his t ight foot..
ht> steps back with his lef1 leg, cente•ln9
himself m !font o l Roytl' :.nd making ~u : o
both hr,. feet are polnllng fo•w.:ud nnd :uo
pl<Mcd ju~t inside of Ro;u's. Ch arles e.xagger·
.ll(i hrs hit, l>l.)<ement ouuicfe o t Royc;c's hips
lOt" bett~r control. II Cha1le1'S h lp~ (U(: not ({II
enough out. Royce may juSI slide down as
Chlw-tet .Ht~mpn IQ throw him,

l~s.
4 Stretch yaur heild ro thtt
ground, and do fhe hip throw
Charles exe<ut~ the hlp thtow bt puU.~
oft hb 1 ~91 to ~~~o~l Ro)·ce's body up. 1\t
the "il'lme time Ch<1rle~ bf!nd~ forw;vd,
projecting hi.s head ·to thf' ground Md,
with his right hnnd, pulling Royce'\ nght
elbow a(.tOS..1 hi~ txld'f-

-99 -
 Rear bear hug <undc c t he onnsl

A bear hug from behind gio.·c-s an aggressor g.-eat <ontr'o l ovtr' your
body. He can opt for., simple takedown or ~An lift ~·ou and slam you
to the ground. But umlulle-d Ct!>!>IJilanh will make the mistake o f bear·
hugging someone while leaving their arms free-allowing lor m.:tn~r
defens.e options.

Rovte ha~ Charle~ in :. bear hug

/ from b~h nd t~otke thl)t this
hmt: (unl1ke 1n J>fXI\IDn t8) Charlei's
.-rnt1o :we fr~.

'·

2 Drop in ba.se with both hiJnds on th('

ryround. Charles drops down in b.;se
.-lOd J)IO(t)S bOth h<.lll<!S ¢0 lh(! 910und Th15o
po~ition makes a goad four·point ba'U! so
thl'lt Royce cnn't push Charles fotwatd and
snMsh his f.ace on the ground.

- 100 -
 . , GIOlb h;s foot wfth both lumds tmd
~pull. Chnrltsf(',u.hc~ with both
hand\ and gtab~ lto;·cc's lt'g bchlud ll•c
Jnkle. It i~ important to grab as close: to
lhe foot ilS IX>~>•blc h>• bctu.•t leverage.
Charl~s the:n pull\ Qn lto;·cc's h::9 J$ t.c
, 3iloCJ hh f.hest.

/1 Sir on r.ho lflfJ for " lcnH bnr.

£i OI.JtfeJ ~lu on Roy<~·~ kf'l~
torr· wMe \1111 pulhng up on h!\ leg.
• 'J'If\9 ttemtndo1.a p.litk to tt~
.<C)

- 101 -
 Two-handed collar grab !hands apart)

In this. position. Charles holds Royce's collar with both hJ I'Ids, controlling
h is upper body. From here. Charles can easity strike Royce with a knee.

togot~r. .Jhoot your hJnd,

2 Pi.llmr
up rhraugh hli atms. Thk
opon t he spa((! ..nd rclcasc the grip
wm

- 102 -
 . , lllntp )"OIIt .ums- ;tround hJs and dlnch your hands.
~ Rooyc:e ·grapevines"' Olart~·~ arms by tightly wrap.
ping h~own itJ'ms ououncf C~fleo:;'s juS1 l)bOve t h<.'
elbows and then cl.uping his 0\Yn 1\ands. This grip not
only plt'Y(!nt.s Charla from Cl>toJping, but al~() s.cu Ull t he
throw in ~ttp 5.

/1 St.-p jVIt /»Jt his right foot wfrh your right foot
"f .rtd tw'st your body down . Royu plants 1h~ b411
of ht1 right foot beyond (hJrl ~·s ught foot. nc kc-cps hlt.
lt'C) .tJcl~ ;,11 pm.Uble to Ctwk<i'~. lht1\..,.lllr.ll>0lo1tles\
Hape routt. which is 10 m~p MOund and foiO'.v the
throwtng motk>tl

L Throw him. Royce throws ChariC\ by

_7 twisting his tono \Yhilc simultancou~ly
JM.Ifllng CMr ~'S right3rlll a<rOSS h1S bO(fy. NOlO
the difference between this and a hip throw.
The lnp throw u~oe !he hrp to tont•ollhc O))pO•
nem's body. It you look at a hip throw, you 'll ~
that the.! opponent is supported by the thrower's
'''P unt•l he fans (fl)l•m, l_.e,~. 1h~ OPf~<)flf:r'l1 is
iimpty tripped by thP leg that blocb his leg.

- 103 -
 Guillotine (stancHng up)

Position 16 Jhowed a GUIIJorine where the loltll)(kcr bent the victim

down. SOrTICtif'nM. howevet, an clttadter c:hoo~s t o ij,pply press.urc-
imrnediatcly, wh ile the victim is 5till st.lndlng.

t l'ut your lttfi ltend on h;J wrist.

k4Wplng your •tbow ciOJe ro
your body, umi huq his b:Jck with
your rigllt ttrm. 1\fi wllh anv choke,
'~ghr on him
lt• )ytt~\ f jr'll concern l"i tn prnte<r hi'\
ned:. Wllh hh lۥft hnntl h<' grabs
ctmrlc\'\ ri(Jht h,lnd Keepmg hk
2
Roy«: kU
lt.tft<l) yout
On(~

~
th11• choke fi kx>senOO,
body we.ght r~l on
elbc:.w <~ to hk body increoKt'l. ca.,.,ttt-. <~ him to tunhe:r ~
Royc.-\ IN«.tetf' lly pul•ng Chovk>n tfwddf'
arm down Rove• ..-el•t'¥6 the
ch<*;irw, 11ft1-'-'11t' Silmuttaneousty.
RO)'te u~\ his right arm to hug
Chllltc:.·~ ~hou ldcr, preventing h•n'
from cu<hmq 111> ••nd adding pres-
s:uro to tho chnke.

- IOJ. -
 /1 Still holding Ms. l.¥rld, U!4• your
£,f' righ t knee to strike his left knee.
RO)'(c 1:~ tht' b\lolk of Ckl'llt1'S ll!)ht
knee. c~ng jt to bucl:le..

~nd
S Folfow hftn down. open your left kg,
pus.h your right ;houldftr Into hit ned:,
Royc;c 'lin~ l oGk~d with Ch;~rlel Md fol<n-n him
down to the ground. It i5 importnnt to ntm3in dgtu
\'lfth ~ur oppon~nt w you don't JUO'IIn your nedt
(tcmcmbcr, he lo; ~1111 holcl!ng It), Oncr on th~
{Jtound, Royc:e open" hi' Jeh ltg. PY1h.es oft hi1o lett
foot. ond presses hi1o right shootdet Into Chari~\
n«k. The f)H.'~'Iut~ of R()y(e\ 5tKIUkfcr <hok!H
ChMi cs.

6 Anorher- option: Grab his right

shoulder with your right ltomd Mid
dri110 your fore~~rm Into ltiS rhro.u, Roy«- CAll
atso employ a variation of the finish in which
he mes the right :Jnn .:uound Ch.;uh.:~'~> bttCi:
to grab hit righ1 shoulder. Now Ro}•ce c.an
easiJy choke Chcul~ by drivmg hi~ right
elbow 10w.)•d 1he !)(Ouod, fo(dog t'u$
foreann into Charles's throat.

- lOS -
 Knife attack from behind

In this situation. Charle-s hold~ Royce by the ned< with his left an n.
while holding a knife to his chest with h is right. Again, it is never too
much to emphcuize tha1 quickness and <Oordination ate iJ must for
S\tccess irl defending any weapon atta<k. li Royce misses Oil(' detail, he
may be stabbed.

Charl e$ grabs Royce from behmd

/ un d holds a knife to ht.\ che<ot.

- 106 -
 2 W1t/) both hands, cup his knife hand..
your righl hand ovtsidc the knJ(('
hand, ywrkfr h~nd IMirk. UM< a stiff arm to
kHp r.hl!' knif~ away and push off your right
foot. Royte drives h i~ ldt hon(llnto Chnrlcs's
right h;)nd HJ kc-e1> the knife fro m <,:tabbing
him. At the same til'l'IC.. he U!o(!) hi!t right h.:md
to gro~b the ouhidc ol Ch;:,tle~'\ hllnd \0 he
<o:~tn IXIU th~ k njfe bock lor ano ther strik<.•,

Hotke that Royce twhh his body owt3'f t rorll

the kniic by t)u).h.lng o fl hi~ right foot,
g.-•nlrtg dl~tanc;c hom the weapon •

. , KHplng your arm srlff. fff$ lxtd whh

•.'~ your rlghr I~ and rwlir his wrisL A\ I'M:
'i1tps b3ck, Royce puu n wrin lock on Chtw'e\ by
pulling down with his right h.:lrld while at the
solmt time pu~hlng up with hi~ left. The pressure
v.1tl for<~ Charles to release the weapon.

- 107 -
 Two-handed choke against a wall
.• •• .., ... :r--.-
/ ' . I• - -
, ~,:~;· ~
'
~nt..f ing..- t S<OJpe)

In this s•tuauon. Charles n; using both himd• to t.hoke Royc;e while- at

U1c sam• time pu'Shing him agaim.t a wall. Any time- a wall t'Omes into
piJy, the <onwumts oi movement make an elQJ)e ditiicult. Here
Royce dcmonstr\'lt~s ~'particularly straigh tfo1wa1d and ingenious
d<:fCfl'ie,

2 Reuh b.tt.l "'"'" l>orh Nnds

¥J<J find • rll't9« tNt rou CiMf
gab. Roy(I! n.o<Khes b«k .,~ C)tiiK OM
of Otarles's f.ngt-tS -

- 108 -
 . , Grab the wrist wrth your oppo!ile howd t~nd
~ tx,.nd thrt fing~r bM.k. A~ soon as he has a grip
on .1 f inger, Royce grabs Charles's right wrist with
his right hand to ma~C WIC OliJ I IC~ cfvt'~ll'l pull hi ~
hand aw.)y 1ft: then use~ his lour fingers to pull
0\."''tle<s finger toward the back ot hi~ hand.

'D<•'faif
l hls detclil lsolille!i
the woy Hoycc
~"<l" <.~ Ch ~u tc:;·..
wrist and grab~. in
cosc, Challclt'l
thi ~

middle fU"I(I(' I whh

Bll lour of hi~ linger)
bofore r>ullln!J h l>{ltk.

/1. This t~ction will brcilk Char&e-s's

""f tinge(, <au~lnq e-•c-rudati.ngpair\.

- 109 -
 Two-handed collar grab (hancb together!

nus varia11on of a collat grab M Charle-5 ~ding Royce by the collar

with htS hands •oge-ther In this c..MC, the es.c.:.ape ~hown in position 42
will not work bc<ause Roy<e doesn't have the 1oom to break 1he hold
by reo~~hing between Charles's arms.

tS~ nvht. '"

wrist W'rlh
INJ~. •ltd qr~b your kft
yovr nght h•nd RoYfc !ite-t»
nght •nd gnt» hll leU wrl)t '""''" hi' ngh1
hand

2 Turn and s.ttJp ovt."f' wffh o 10tf rlghr

1~. Royce lht!n turM to Ilk felt wh•f.e
blocking Ch.lr16 with hti st'•ight f'9hl 1t9

- 110 -
 . , Continue to twist and pv~h wit/• your
~ right ;)tm to wt.1.1tNt M.f grip. ltQyce planl~
hi\ t ight foot on t he ground and conti nut~ to
twist hb, body, u~in!) tllo3t tnQtfloCnt~.lll'l, liiOI\fl
wrth 3 pu~ frOfn hl'i lt!) h1 hMd, to bre.11:.
Charlts'l gn,p.

/1 Com<- bll<k wlrh • ~verse ttlbow sltf~~.

1-f' Royce elUW'J1)t•atc$ the twkt and retmnt
whh an elbov1 $trike to Cha1lc<s f;~<e

- 111 -
 Elbow strike
•
.. .
.. ..........
• tiro•
•
I

I' ..
• ;;~
·'· . , ,·

I
~

· ··"' • I Jr
The elbow nrikt is tough to beat. tt can be delivered at very dose
quart~rs wrth tremendous poo.ver. u abo hat. the advantage of using
one of the poinlieit .:.nd m<nt resilient paru of the- body to ~tr-ik e the
oppcunent Unlike a pun<h. wtuch uses the fragile bon.:s o f the h and,
the elbow Wike should be your p1cfcucd weapon In "'"Y strt'c-t 1ight.

f: Kft•p fOC" h.mds togeflr«'

l'l<f.V rout I~. A~ drt.<us:w:d
e.wlk't.lt ka!)OOd ideaanytJrre
you sense d.lrlq<'f 10 It~ your
hanl.b Ul) near your f,lfC for
111011'1 llurr Royto does that
lrcrc, di\IWI~Im1 hi'l lnl<:ntions
by 1ubiJ ln~J hi ~ hilnd ~ tQQt:'ther
whllu tulldr.,, W Oh1rlcs.

- 112 -
 t~nd
2 fl.oviJt your body drive your
t"lbo'"' Into his f~c... Qukkly l~oyrc
fiKb his l,.h CO:Ibow up :tnd dt1W1 It 1oward
Ch!Mk"\\ liKe. Roytt' adth powre1 to the bi(Jw
by IU,\hlfWJ off w11h hh. l«!tt fool wlule
tw"IUM) nqht

- 111 -
 Rear bear hug mtted upl
•
"""''
,,t~t• ...
''
,. ,
,_
~~
l•
,.,..,..
'
...
I

• ,•• 1lf , ,.
·a..o·"' ·.- / •. • In this variation on postlJon 41. Royce t.tn CNrlies off the ground a:s he
bear-hugs him. From this PQS4lJOn. Royc.e toukS )lam Charles on the
ground or t..lke h1m s.omewhere .tgl«nst h~ win

t ~ar
ftortt' h.H CN,...... In •
•nd llfh him ofi the ground
hug

2 Hook hlf leg wtlh your right fO<JL

Ch~Jrles wtiiJX hit ught le'CJ .Hound
Rny<e'1 1«1- locking up lt'\.e anion with hrt foo•
behind Royce~ t~hl ~nee Tlltls ~QP5o Royt.e from
~"9 .-. to thtow him owr.

- 114 -
 C) BMd youn•lt down •nd p~~ both h~nds
~ on f/¥ grovnd A~ ~oon ·~ Cho•lcs blocks
~toyte·s mouon, "''"If" l>e1ldS hi~ uf)t>er body
(Jowt1 ,.nd plfole~ IKJth hand~ on lhc y•uund.

/1 >t"•b h& rlt]ht hHI t.<~~rthlxHh /NIJcl) rmd

'-f J/1. Jlrrlng 011 fllf knH. Clllf~t
rNChe-s
~.. n hiS own lcgt ,1nc• 9'-*lK Roy<e't right
loot ...,,h bolh han(l ~ Mld pull~ It forwJrd.
; Royu to faiJ bacl..... ChJtlt\ lm1\hcs t~
t , t-~tt•ng on Royce., lrl<'e 101 J ~'~ tMt

- 11S -
 Tackle

Though the tadde may seem unsophisticate-d, it is used by skilled fighte rs

with a wrestling backgrovnd, as well as unskilled fig htNs just looking ror
a way 'to t<Jke the opponent down. In this variation, Royce defe nd$ an
at1empted takedO\vn by Charles and follows with a punb:hing sulke.

! Chal~ \hOOti In lo• • d lnch,

perhitps oliU:mpUng .'t double·
Of t.•ng~ leg takedown.

2 Slup b.tck In bouc wl'rh

your rlghr 1~.
lwnds on hl.s thoufder. Roy<e
both

Meps bock 11i b.'t~ wllh his right

leg t~nd use\ bolh hi\ arm\ to
b!or.k Charles's shoulder.

- 116 -
 ., 0fll'~' yom tlg flr ('/bow
~ lrtto his spme. l<oy<e
pl\tiOU forwmd , .,d dt op:. hi:.
f'fUIIC' body Wl."l!)ht. \ lrlk!n9
Ch6tJM'l batk With lm right
elbow A \Ut'e to t he )<J)ine
'Wtll C~ CJINI p."t!n

I I (opltOn) Driw .,our t;ght ' " "

£,f 6-trc lt•t l.tc• If you h.otvt' re;non
to 1 mote \41\'crt• d.lnt..K)e to your
~ ~ , ""'· or knodt him out. a ltnee
ll1 u to th~ f,Kc: wrll do t he tndc. <K
ltoyu• dcmomtmtei here. WhiJe stilt
bk.><l!:•ng Ctuule\'\ should-en. Moyce
dr ..... h11 right knee Into Ch~lflc:\\ f ~

- 117 -
 Headlock (kn ..,lin g o <>d rolling escape)

Position 17 showed a headlock e!teape using the f-rame. In that situa 4

tion there wa" enough spate between the aggressor's head and the
victirn to allow usc of the frame. In this coue, however, Charles's h ead
is so close to Roy<c's head that Royce G~nnot moke a fr;:unc. It is also
imporrtant 1o notke that Charles's kne-es are close together. so Ro~·cc
cannot make a hook with his left leg between Charles's legs and u se
the ~pe shown in position 39.

t Gr.tb his lett shoufdtff' with

your 141ft hand. Scoot y~r
hfps aw.,y from him. Roytu
g1al» Ch1ule\.'!. ~hou ld,· • · l'l i~
thtn pu~es ofl hi~ leh leg 1o
move;o h1S hiJ)S In ,1 circling
mcnlon liWity f10m ChtHh:lo.

2 Puit him bndwaTtl and

go to your knH.s. As
Royce continu~ to <~COOl h•~
hips <1wny, Ch<ulcs begins to
fall b.'Kk and Royce f.lcilitat~
this by pulling Charle'i''i left
ShOulder tU\V<Hd the g1ound as
Rovce ga~ to his knt"eS.

- 118 -
 " tee go of ~g aM
~ p411 both h,mds on the
9/'0lPJd At t~J pont fiO'r'<t estO»b-
1Jhft l1i1 4 ou..·point base •;o~ith
both h()1'1(;')> ,md knee~ on the
qq)und II 1-. C'dremely lmpoitanl
1or Ro~·t~ to have hi~ fight hand
on th~ nround In ft ont of Ch\lri<:-S
10 he (M'1 roll ltoyce over hi~

heod a nd t nd up in the ~me

I)O~<IIIun rt11 o w•t IU)aln

/1 O..t /tis tnH>t ~·th your

"f rlflht h•nd •ttd mowa r him.
lttt yow,., lotNnn on hi$ fxe..
.,.o row ,.h "'"J' ...,.,,,.
yocn
rfpi'Jth.Mc( Mtdi'Nh• fr~to# I'Ve
~~ on rtHt I~,.. Don'r
lr)' fO,.,.
J'04i' itHd Otlf. m.lk•
,...,. fM 9"P brtau:s~ o/
. . ~ 0\.lncJ t1h rkjhl n..rl'ld.
• puth J (h.Mitfi: kne-t1o
lnd JIGP1 0\'t!f WHh hn
~ to •chteve th~ mount~l
.......,., ~tKfllh.lt ROy<t hil~ h 1J
hnl lo1e to Charlef\
_ _,. tG l"ftvfnt any PCSJib~

•••IJ'y ChM!.t1. llloyce al"o hac; Nt k;!ft k~ tJMf' to CMiiM\ hNrl

~··• '""'9 '"" 'INth~l for t~oghtnns•nd oa anti!!' A her~ hset.\lb-
po\11.at\ Roytt puts htS !,th f<:wtarm on (h.lftM·, fMf" (Of' h'lo
- - · ' lind rMilft a frame tr1 gra.obtng h 1. cw.'ft ett wnn. w.tl'\ hi'\
llo,ce ~ pc-euure on Ch.»tn·, ,.-... b;o ~~~'-•n ng fOfW.ltrd
• •...,,... wei9fltll'ltO tht- fta.~. forc:.ng ChJI'IH to t.H 90 cf thfo
'-'e Ro;u can S"..Ep owr f01 il<'l arm b.ar or lltnpty p.rc.t>
..,...,, '•"' ftld th•ncp..lt ts ;)l.so I!TpotUnt•o '~""bt-l rot to t•)o
neo. Ol.lt~ bu1 ratnet to~ the .J9')1'~SOI" r~fW thf' hold

-119
 Shoulder grab with bent arm
u·.r -.....r..·
.... -· ..-.
•, -..•
·~
- .,.,
~
~-'
-
-

.#1' . ,
~
.
.. ~ ...... -."
Charles hofds RO)I<<"'S rtg~t s.houlck2:r by the shtrt wt1h his left hand In
tha. caw- Charles has a bent •rm from this pc»ition Chalrtes could
anempt to punch Ro)'te.., the- face or ltne. him in d~ body

B~'or"
! Gol 1n b.:llf" he docs a nyihing,
Moytt "''·~I'\ "-U' t ' h• hill (},)'>t: ..0 Ch\'IIICS
un·: 1)1 11 """" dowr

2 RltMh up with yout nghz arm. To

bff<'lk the t':JIIP,. Roy<~ tt',.J(nti <JPwtlh
hh llflhl .um ' ' " • of <t-rades'S arm. as tf f,p
\¥eff!. thtOWI"'9 ~ Uoptt'CU.L

- 120 -
 . , On the way down. w~p your arm
~ .utxmd his ~/bow.
0 1'1 the w.)}' bac;l:
from the motion. Royce wraps Charles's
elbow v•t !\h h is right .;u m , 1-'C lo<h Ch;)I'ICi'S
tOte-arm "' poslllon by l!.:u)plng 11 w nh his
own armph. Bl!tausc: Charles h<~d hh 0 1111

bent. RO)'\C is able to h:x:k tit(' po~l llon even

more by btlnglng his own elbow h!)hl agtlin~t
hls body.

/1 Gr~b your rrght wrltt with your ltdf

I--f homd. Hlp•ltHwMd. l~n ~ .wd hfl
fO#Jf right .:trm for r~
d'touldtr lo<*. Charlet
no longer w n free hli dim Roy<~ grab1. Ius
tight wtln from below wl!h h!~ leh hand ;u•wf
0\e$ h to help lih h lS t ight arm up. Royce

«<ds to the subrnl\!JOtl b'/ lhnrStl"'l ht~ h1ps.

forward a'i he le.lm ba(k and hfn hit righ1
.arm. Increasing pres:sute on Ct.art~·s
Ulouldtr.

- Ill -
 Shoulder grab with straight arm
........
tl'
.. r:..-:1l"- - ..,-,
K '

. ,..., .- .
·•
~\~,;;-'},- __
~
---c,
. 'J/1

--~
..'

In this vari<Jtion on position 51, Charles grabs Royce's shoulde r' with a
straight arm inncc1d of a ~nt on~?. This meam Ro-yce will have to
finish the defense with a different submiss.ior'l hold.

t c;.r m base. Again. before he does

anything. Roy<:e mat e~o sure he i~> in
b.l~ )0 Charles un'l pull him dovm.

R~otch
2 up with yout righr arm To
brea.k the !)flp, R<ry<c use~ the wme
H!d UUliUe <IS in position 5 1: he te;w;l~ UJI
\'Jhh his n'!)hl arm imide of Cha1fes's loeh arm.
a~ il throwing an uppercut.

- Ill -
 . . , On tlwt w•y doWfl. wr•p yew,. ~rm around his
~ Hbov.o Gr1b your rtgiH wrls:t with your left
hand On the way b.J(.~ horn lhc motion. Royc.c
\'ndJ)S h•~ rl(lht ann .110u•'d Charl~'s clb0\•1, Ro;•<c
qr.1M hh rtglu \'If~~ whh hi) lc lt h;:tml nnd lock5 hi \
«!I bow jU\\ ovtt (Mill'">'\ Il l) hi elbow. HO)'CC hx:l\\
(hJrk!-\''1- tote.~rm In f)Oi•t•on by ~ ' t.l i)PI"9 II '.\lh h his
own armp1t, but in till~ c.uw. b{'(_•ll\<' Chilrles hils a
w~•91•t &un. RO)'H' t•11t001 b•l"g h ~own c.•lb()v.· to
hfs body and tn11U qo tot .t dtffCltM\ }ubml!l.\lo",

/J Jt•p In fronf mflt ytWt" rj,ghf '-9

"f •nd twlJC yout body down f<K
m. .m lock. Royce fi"I'Sht'\ th4! tnovf!
by blo<lting ChtHi ef~ body w•th hi\
t!Qht lf9, ptt!Ventlnq nny escape. 8y
twi1:hnq hi\ body down and to hi\ ~h.
I! Wtll put prt:SSUit 01' ChatftM'\

t ••\ung tt If ne<euary.

- 123 -
 Knife attack from behind
(knifo- ag:.inst neck)

This s•tu.at•on ~ sumlar to position 44, ~<r¢ Chlfles places the bla de of his
kntfc ~gatnn Royc~·s throat rnstead of his (h~\. Becau,_~ t his time: the- bludc ~~
c::IOS<! to his r'l('t k. Royce <an not s.irnpJy block i1 ~tway with his h.:.nds, as in po~i
tion 44, and hils 10 uw this defense-.

(7 Alt t>oth hMtdJ on hJJ twut •nd drop In

. _ IMH" Kf"f'P your t>fbows dost> to your
body •nd pUll d01vn Ort hiJ arm Ro:,•re ghlbto
(h~' ~·s wm-t with bo1h h t~ handto ~.tnd thops m
b.'ts.e. He pull\ down on Charh:n 's wrl\l l o kt:CP t he
bl..tde :WI., ftOI'I' h •l l'l("(k, llll!~I"'J )Ure 10 lileejl
h~ tolba.~ tW 10 1\l\ body lor t~t lr•• levtr.Jgc.

f"•·to/1
Uote thot <O"f'Ct
\'Wy t09'01b
the""~
~hl\.tl
U\'C Ungerto o l
each hi'lnd o ll
t ho :..o.~ ma \ide Al'\d
hi<: d howto a rc clos~ l(l
his body.

- 124 -
 . . , control rh~ knife. Step around with your left
~leg. 'Nhile making sure he <oulfOIS Chat!~'"
right hand. Ro1·(e t3kes.,:, step back with h•s l eft leg
and ducks under Charles's right arm.

C>d ai!
Hetc is;, bcner look ar how Ro;u peels the knife
-'"'a~ fro m Charle~·s hand b;• g~oJI.Jbi ng th~ hM•(ll('

and pulling it bink·.v.:ud.

Hotict n.lso how l to~·ce
tS u~l ng his right
;wm to 1Hip
Cl•JI'c~n arm.

/1 Pull hiJ nrm bitdf. KHp <enucl of his

~ right wrist with your loft twnd Wr1p
your right nrm nro«md hi~ tlgM arm 1nd gr~b
th• hitf'ldl• of tht knlf•. Pull tht> h;mdlo tOW;Ird
his blck ond /H'Df tho knllo l\lfly. Rc>y<t
continues movln9 toward Chatlt"t',o; back. At th ~~
potnl ChOltles h n1teady in p.atn became. oy stet,.
ping through nnd to U•n bad( wh1~ holdi"!)
Ch.lrfcfs wrht. Roy<~ w.·i"tted <ho1tles's arm.
Royce uo;es his lf;l ft hand to continLM!' to twut
Chatfe1's wrist, applyu,g funhtr Pi'•n aMI
'orCing Charles to relu~~ hl1 grip on the knife .
••:;yu then wraps hi.$ right arm around Charle-s's
.a-ron and usn h1s nght hand to ea1it'i peel the
• · tt ~way

- 125 -
 Straight-arm collar grab
with high grip

Th•s attack is slmna, lo the smg:le-hand <OIIt)f vrab s-hown in positiOI''I 8.

but in thiS can Roy(e ;s using a htgh 11ottff arm grip on Charles. Charles
cannot U'S(' the sarne e$<ape ~use the stiff arm !Jrip takes awJy the
l cvcra.g~ h~ would need for the s1rlke 10th~ elbow u~od in position 8 .

t Roy<l' hokk ~1M's colar

Wllh D \t';) qht Olrtn

- 116 -
 2 Gtdb his wrist witft both hands- lett
elbow down. right elbow t1p. Ch~r lc~o
t •.u.,rwt usc th~ ('')(31)e shown In po~l lion 8
bec.llfS.e the stilt arm makes il d rtficull for
him t o buckle Roy~'~> dbow W ol h i'l h{n1d
.n j;n po~lllon a. rm lead, Cha rles uses
~tr k c,
botrt hands to grab Ro;•ce's a ttac.kino wrM.
NotKe t hat Chafll!s i) v~oi"9 rhe (onvenllon;,l
<jttp, w rth his thumbs on the opposite side ol
the othe~ tour finge rs. Charlt'~ h\JS hi:. left
~100'\•t down t~l'ltJ h1~ ll!)hl o ne Ull .lS he
l~rtplllre'o 10 \II!!) i,CIOU,

. , Stop n«oU wlrh ywr S.ft kg. Pull hi$

~ iltm wlrh you Mtl ow-r your shoulder.
Ma.l!c sure his .,tbow Is oo;~r your Jhouldft,
then pull down 01'1 his wrist. ChariH UE'fM
around In front o f Royce. Uiing a (ircut.:u
motion with hh c:lbo•.vs to both Of'Cillc. Royc~·,
(I rip o'' hl1 co.lar .tn<l pvll Rove~~ arm .xrou
and over Charles's \hOilllder. Cl\cuiM ma1<e1
sure that he hn\ Roy<c's croov, jonu f)OSI ·
tloned on his ihou!df!r il nd puUs dot•m on the
wrin. breaking t he arm if tte<essary

- 127 -
 Pinned against a wall

In this •n a<ggressor is pinning the! vkllm itgamn ., wall b)•

~•tU4t,on
push1ng w •lh both hanc:h. Again. the presence o t the w all makes 1he
CS<.lPC mor«~ diHkult by limiting the n"'ovemen1 o p1lons..

~d
2
CMf~·s
PUt both h.mdJ. on;,, tfbo_.,
ft~ OCit 10 1M ,.It Roo,tf' cy-.
elbo..."' Wlt'l h•~ hllnek Jnd
quktt; u.~ to 1 h~ ~ dt "-•lh h 'ltft ·eg..

- 128 -
 . , Puth hun Into tf~ w•ll Wlt~out Royce's
~body to hold ''lm u,,, Ch·l'IN MC\ his
oa M'lt'(> "'"" Mo~'<f' · e.,d~ h 1n 10 1he wall.

l~tr url'lf~
4 tHirwr • .tttH- \ '.'t!t'e Utll
tKJ!dlng both el~.,_ Ro-;<c thrO\'IS a
lreh kl\eet lniO Ctwlt·~·~ Oocty

- 129 -
 Hand chop

Altho1Jgh OrJzilian jiu·jit.su is known for rts g rappling techniq ues.

rather than its strik ~. some-tim~ tht' be-st wt'apon in a stree t situation
is a q uick sttikc. lhe hand <hop to the nec,k: is powertv l and f<1st. Df•d
it mav stun an aggressOr enough 10 allow you 1o escape.

f•orc• ~ cont,ontod b)' Ch ortc>.

2 Comb your hair wlrh your tight tumd

Roy(C fc1gn1 ncrvou.snes1. pauing h~-t
righ t hand l h f ough tus hl11,.,

- UO -
 . . , Conrlilut rlle rnor(ort. 1eathlng all
~ lh• way boorlr R.l))'tc cltlgycrOlot<.' l
tht•mot..,., 1nd tt'ltn't'> 1•!1 1h ~ woy 1o t he
ba<" o l hH. Mid tOt !)l f'IHer l)l)ti'IN' on th~
<om.no ,,,.c

4 Chop t/1• b.;ue of his ned wirh your

tight hifttd. pwhlng off your left foot
end bendfng your right ltttee. Catching
Cholrl~s, by \m'PII~. Royct (hO~ down on
Charll'\'1 neck wu h h·\ rnghr h.itnd. 1\vtn•ng
he\ body to the left, pu$hing o ff his left leg,
and bfond I'HJ hi" uqht ~n«- JOow Royce to
put h•l body we g ht in:o t he st•ii:e and
g.tf't11tt l'l'lut.h mort po.....,.,

- 111 -
 Palm against the chest

AnotheJ" fr~~tly encout~.tertd t.1luatK)n" the hand puVl. Here~

Chari~ push-es RQY{e ~ "-.,th a suff arm 1g.ainst his <hMt. An
el~ilnt and effectrve de fen~ 1t. \hown.

t Charle!o "'·'• lu< "'•119'll

rig hi arm on Ro';'(e'< ch~ l
,,n~l I·~ pu~hi "!J htrn b~(ltv.a td

- 132 -
 lf~t). ~«UIY.'
2 Srt.>p back Wllf1 your rigM
hi5 hand <tgainft your chest wltll
your tight h,1nd, ;,nd grJb hi's ()/bow with
your left hand. lto:,·(c l ake~ a stet> I)Cl(k w l h
h 1 ~ right leg and gets in base. With hi~ right

llotnd. Rot<t M."HII<'~ Chod~'s htaruJ .:.g,:, i n~l

h11o chert. mal(jng sute Cha•lcs can't pull back.
At the \Um~ tunc. Ro;•(o uses Ius ld~ hand to
gmb Cha•lt'1-'' , Jght t lbov.·•

. . , Grotb bohfnd h/1 elbow with borh

~ lutnds nnd tHlftd yout body down fot a
wrl.u lock. Royctl 1wltch~ hb tk)h\ hand to
Charles'' clho•N. t>Jow wilh both of hk NncU
t-tcurcly brdcin9 t he e lbov.: Roy<e OO,d1o
wr'"
fotward, appt.,.illg prt$~'~'t to the }oint.
Charles mun \ ubmtt ,

- 133 -
 Rear bear hug (over the arm• - head butt •scope)

' , ... ~'""''" ••••••••••••••• ·.• >. '~--..- --

In po\rtion 18 o;•;e saw tfwo tradJhONI dtf~ to a bear hug OtiC" tht>
.:urns from berund, but1f )'OU rt:.allr ..... ,ntao catch \'Our opponent off·
g1,1ard qui<:kly, a ..-ery effective •nd puntshW\g ~pe is shown here. For
srtuatJons where your opponent anticWpatts tht head bun and keeps
his he.ad do·.·.-n. sec pos.bon S9

t llOf'CC ha~
Chill IC'I It\ 0.1 b(','H hug,
over tho a rm\, hom behind.

- 1)4 -
 •7 Otop 'n bl!lt. Cha•le-s d1op~ In base,
4 - krwt"~ I:H.'nl_, hlp~ lo•w..mJ. hc.:~d up,
and .uml uro~lgh\ Ool f1cun hi\ body, fo1clng
AO)'«' to bcf,d tli1 tnN-~o.. wh,th loo~t!nl his
9'.P ""qhttr

. , Sl•m ~our hNd b.ld into his fxw.

-~ Charle' tht:n pudl("l off \\"111\ both tt9\
., h~ thtum hi~ ht~o~d bdck Into Ro;'<e'1. f.)(~
w•lh Hf!fN'ntlovs force.

-13S-
 Rear bear hug (over the arms - h<>el strike)

This variation on 1he ~ar hug defense isn't q uite- as devastating as the
h<'<ld· butl defense (positior) 58), but i1 can be necessary ii 1h e a tta<:ke r
keeps hi~ f ace tight .against your back by dtopping in base himself, 1.1 ~
Royce does here.

-#noyce hns Chari<:<~

In
I <1 bc\lr hug. over t he

arm>. fro m tlchind.

- 136 -
 n
~oens
Char1f:1, lrles, l() orop in ba~ I)~Jt Ro y:;.)
his legs and locks his face dose
tO ('h(J11~·s b;)cl(.. twoiding the.• hN tii.Jutl•

. , Srnlm to til~ gro(t). Si n(C ItO;'((; h;,d IO op~u

~hi' leg\ t o pull badt and keep Chnl'les Irom
f;JUin!) In b3c~. he lt;)vCS him~ll opt••• for il ll c.,~l
unk(! to the groin.

f'dqlf
A rr"l!t\ft vu,l:w of th ~ ht't'!l -;t ri ke 10
the qrOtn. For ~u«cnful 'lltlke<~ of
• ~ •t\Cf1, aiW<~ys p jcturc
cont uu•.g the sttlkt
tntoqqh the
wr· not just
t.tQPP1'9 when
con!Kt 11

- 137 -
Underhand knife attack (straight-arm btockl

This v<':lriation of the underhand knife attack (position 27) is the belle•·
option if th<" anackcr is very pow·crful. In this ca!.e, the defender p l a~·s
it a little safer,. not wanting to t<tke o chance that his blo ck w ill rail
and he will end up yettmg rubbed. The straight arm used here blocks
the stab e<lrlier than the bent c1rm us~d in position 27 tJnd doesn't give
as eastly.

- 138 -
 2 l)rqp In bil$t.'. Stt:p
fo1ward wjth your left
leg• .Shoot both arm s strai9ht
out: your rlgltt .':INn blodcs 11/f
wrist and your left am• bloch
his elbow. In om: mo tion,
ROY<C drons In bltSC b;· :;u~p ­
pmg lon.vard with his lett leg
und ~huoh h i~o ou·m~ $trDI{Jht
out. blotklng t he !>lab. Royce's
oght arm blocks CIHrt lc~·s wrisl
w hile his lt'ft .,,,n
IJiocks
Ch.:ules'1 elbow.

. , GrMI Ms wtlsr wlth yoiJr tight h:md .St(tp

~ 4t04Jttdw ith your loft If'() Pull hfs dmt ovo-r
J.houkJH. 1'\JU hfj wriSt down ro brt<'k h1S
Onct the.- Hilbblng MOhOn Is StOPJ)(ld. Royce
m Charlti'\ right wrl·n with t us rkJht h.tlf'ld. He
Itt: o~round In from of ChMfe:S wtth his Jefr
1111 wd\11 polling forv1ard on (h<~ri-M's cum urujl i1
b on top of hi:S ~houhltr. Ro·rce <an f'IOl'l bre.ak
.-n by pulling down on the- wrist. Oepcrdng
heM f~r Ch.artes's arm Is extended Oll'er Royu:•-.
'II'IOt.Mt· ht: wdl etther brtak the elbcnv cw the
• JOtnt.

- U9 -
 Headlock Cb•nt down - , ;tt;ng back escape)

In th•s variat~. Charles bends RO\"<e down and, by stepping in front

with his t~ght lotg. prevents him from <om1ng iUOund the front to
initiate the h<!oitdi<Kk ~ape executed in pos.ition 34.

your ~ft lumd and

t Gt.tb "'' kft hrp 'v.th
put your frghr hand IN-Mnd hiJ right
in~. Roy<e g"bs Ch&tiC't.'~ h•h hlrl with hl1o
l~fl hMd 1nd biO<.k\ the bnclc o t ChiU'Ics''
k,et>.WIIhhjloii!Jhl olllll

2 Shoot your left leg thro.Jgt. hJ1 ft-9•

and sit bad. RO>j(tt \hOOU hk tet11f9
lorw;~rd beh'lleen (h,ut~·,. lt'g) otnd t.IU back.

-140 -
 . , Get on top of llim: i ll down toward your rlgM heel
~ and dear his n'ght leg with your right hand. Throw
yQCJr n9ht fey ov('r :Jnd mQilllt him. In () ending n' olion,
RO)'(t stu 'tQ'.vatd h~ right heel, simullaneoU\Iy pulling
Charles's hip with his lett a rm and deanng Churles's right
h~ right hJnd. Ro;•Ct' (Ontinucs the motion and
k."9 w rth
lhrows h~ ught leg O\•er to adl .e·.·e : he mounled position.

h~nds
4 Plac• both on thf!
ground. KN•p your tight
hHI close co his hlly l ttd
IC'OOt you r left • fl f:<' ckm'J co
his ~Jd. l<..cp yourb.Jst'. Once
mounted, Roy<:e adjusts hk
ba~. He pi:.<~ both hunds on
the groi.Jnd, or~.: ou t.Kh sldt
of Ch .arte~. Royc-t U1~n ~his nght h~ to Ch;ule~'s l>t-lly, t Bkm9 llwoy M)' \J)nc~ :1nrl
My cho:mcc Ql c:s<orpc. He 1lktes his 'eh knee tov.•ard Ch;1rlc~·s head, shilling hi~ weight to
thllt klk'e. ·rh<.'"\c .tiC VCf'f lr11JI<Ift.lll1 .Kijll\ln'li!t"'h bo •t"u~· · Royce dOt\n't v.·al'lt tO ulve
(harle~ t ht opponun~ 10 roU him over.

r7 MOJk~ nlrltm~: put YOIJf /(•fl mrn on (OJ' of

hfs net.JI and griJb your left w r/1( w l 1h
your right hand. 1o (f'lea.w I he nN"k hold, no•1re
make-\ a frame b~· placing his lei1 arm on top of
Ot.'t•le~·~ ned: 01 jiw.•, hololng his left 'I•'' i~l w 1t h
his ngh1 hand and leaning forward. Th1s applie\
uemendou~ pre~sure 10 Ch arles·~ JllW or neck.

Note th.)t lto;·ce d~>es, not U)•lo relea~ I he hold

by pushing with 1he frame; rather. the frame i~
uwd to tams fer RoyC<-'S bOdy wei!) h i 10 Chill i.::~·~
fa<e <)nd appl;· pain, w h1ch will r.ause Charl.;s 10
let go. From : his position Ro;•ce can go iof either
an armlod: 01 3 st•ike 10 the: fa(e.

- 141 -
 Underhand knife attack (svaight·arm block -
A _,.......,...

.• --.-:•·•-.---· __/.
L-·.
~~Vi I' .;, , - .
• II 1 - .• • oppon<-nt resists)
J.,.~

• •t ·;- - ..._
....... • ..r ,.

In -this: pojition Ch.arfM anacks Roy<e with a l:.nife irom below. Royce
.attempts the S1raight-ann defense shown in position 60, bul thi!> time
Ch arles tries to pull h11o cum bad as w on as Ro yce g rabs it.

! Charl~s hold~ n lmifl'! low II•

hh right hl>rld o'l lld ott~•r•pts
10 \-l.lb 1\oyce.

2 Orop ;,. blue. Seep fonvJrd with your

tcl t leg. borh olrmt Jtr.Jight, OJfld
blot:lc tlw J(ob. Your dght hMd blocltf h1.1
wrist und yo(n Hilt hand bloch ltlr elbow
Royce drops in baw- h ~· wklng ,, step fot•.vilfd
·wilh hi-: toft leg and block.~ the nflb bot
shootmg hoth nrms out. Roy<c u1oes his rj.ght
hand to block Chartf!'>'\ w no;t •ltl d ht" ltft hDnd
to block C:IH'Irl<:n cii.Jow . Royce then gratx
Charles's wrist W1th h i~ n ght hand and
a n cmpts to step through, but Chatl'~ tt~ to
pull his M m hn(.lt,

- 142 -
 _ , When he trie1 ro ptill back, grab Mr;
~ t'\•ri1:t
wit/) both hands. No te t ha t
be<au~ Royce is in good OOM.' he i:. able t<1
krep Chad~ lf<)rrt pull•ng him down .

/f St•p forward otrouml him WYih your right I~ and l1k l'lis
'-f wrlse with bolll omns. Ro..,·ct steps ~n fro11t of Ch.-,lft\ b)'
Liking • nep forwilrd , .,.;h hi~ rl9ht It'<). ~lmultant-ou\1 .. l1f11ng
Chari; ·s .um, which ht" will du(k un<f~r m $tep S

S StffP back through wfth yo(lr /t•ft

leg. Pull his wrl\1 liP for a ;hovltlcr
lock. Royct• COOliO\JC" 10 m o\•e tmvard
Charle-s's bar.k, \!epping aro uml wilh his
lef1 leg and ducking unde• Ill(' kr, Ue. 1·1c
ends up behu\1'1 Charles. still in control ot
(.h;ules·-. righ~ wrist and twist ~ Chr,rle-s's
,,.rist fo-1 o1 wris t lork.

-143 -
 Chair attack
.. ,_ •
.
""' U "" •-·
-
-. ·--·
I
•
1:•
,r: ;
-~
~
' • In tights th.lt o<c.ur uldoors an aggrMSOf will somMimes grab a heavy
Obfett ~uch ~ a <hair and u~ i1 for an attiKk.

St~p forwntd wilh your ~/r I~

2 ~nd $hOof bofl't homdJ Into hH
~lbo..w. RO'f(t UOJK the .atu<k by U\1"9 •
otg uep fotw.ardw.lhh .. ~, f1e9. ~
lht <h.lw e.uty i" 1U mo:., by btock11'1'9
Chat~i. elbows.

- 144 -
 . , Step ~tround to his side wtth your right
~ leg, nghl hand holding his right hip,
Roy<.c mollnta!ns hi' lei1 llttnd on (hn rl c,~·~
fight elbow. Wllh his right le-g Hoycf!' s;eps
around to Charles'' ''dt':. Ro;·ct !JIOb\ CIHlliCl>'$
ught htp 1•.rllh hr1o oght h a nd

4 SUtp In front oflllrn with your right ltg

and do a hlp 1hrow. Once se<wely in
control o f Chatl(!s, Royct' ue~ atoood in
front o f Chl~rld •.vid• hh. rt9hl leg l!ll')(f
executes a ( l i\\11( hlp thtow.

- 145 -
 Gun from behind (hostoge position!

lPt l,t'i. hope you ne-.er fl!'ld )'OU~tf '"the cllt'Sic hostage po>sitioo-
be•ng held tn '!ront b'f ar. 4JggrtsSOt V'• th • gun to your head.
Ob-.iouslt. tl'H!' severe d.l.nqer of \uch .3Uuatton requires that you only
tl\k an es<a~ if it seems liktl}' tNt you will to\t> your liie ii you doo't
do sorneth1nq. Theu.• \no room iOf e-nor ~~~any attlon you take-
must be c.alcolattd .md prec.•\t> In c.f~\ htt' this, It helps to tlrs1 s~t up
.a distraction. enabling you to qct 1n 1•0\.1hon. A t)pical diS"'rartion is to
plead for your hfe: .. Piea\to, thu'lt ot my Yvlft and bd~. " }'Ou'd say,
lightly mov;ng your hillld\ (Of .Jdd•t•onal tHPr1

t Ptll yuur lmmtr up ond Cl1!.1te a d11ft11C·

t/011 ftOy<:t.' CH'•IW'I t1 dl\1 r ..(tiOR \'1 th d.M
t~No ,.,,,., ol
lulutH: tCJ get hh hllr'l(h 11~ <IO~t· tutlw gun dl
po\osi!Jit•, uml to Wk«: Ch.lrlfl'\ foct.\ u-.-o,\f
hom the phy'\k-.tl ,II,MI•<~n
2 Gt.tb I he- gun wUh your right hand and polt II
..,,,,.Y !'rom your fx., USing your /#It hAnd to gr.1b til~
lowt'f" IN#f of 1'111 ~MI Royce "I 1••:-.t concern l'i to tt:"mCW(' tl~ i:l'..ll''
hom hi\ li'l<e.
H~ ust1 hb right
hind 10 grAb
dM!: b;Jfr~ ot '""'
gun M~d 1MAitl
.,,.lrf from hi'>
fo~ce In t~ne
(l,,lrlt!\ msll\ tht•
ttlggrr. Al ~It··
\,, ,.,,, tll'nc,
Ro•f(l" u st~ hi'
lett ha nd lO
grnh th" towct
p.:tft (l( Cl~o.ttlt ·~·\
rig"lt hand \to._.
H'lScl lor t he
prone .. h.Gt)J
pos l!Ofl.

- 146 -
 . , Srep around wrth your r19ht leg. Ms wrist T~rvist
~ dcwn Wlftt your l!.tndt, kHplng your .ltm<
st:taight. Don"r /o1e con1101 of the gun barrel. Royce
tvws to h1~ 1 ghl, rndl'llllhl•rq tOI\11 (Ontrol of lhc •1un
barreJ. and $tam 10 IOI<l\ll' Cha• IeoS's wnsL

!"t•f:lil
1t-n. "' .. gOOd IJ•a1 ol tl-fO pfe<oW griP
r'IHMU.ry 101 bfo\1 conuol of lh~ gun
r4:)httt 1t-•1 ftot'(co\ ''}hi l,.1ttd gr.1b\ 1tw
band 'o'fNho I• t. ldl h.,ntl I')Mh< thf lower
pan ol Chatl('·n '''Jhl hil"''d, p1o'lldmg
flloh 111·.1111 t:\'l"fi\ljl' IU hiH\IH' lhC W(i'>l.

-147-
 Single-handed collar grab (thumb down >

In this variation on position 8. ChariH grabs Royce's collar with his

thumb doo...n.. He rna}' have JUSt &ned Lhat gtlp hom the start or may
have rra<hed thete by twtrtu-.g Royte'J shirt

/CI'u~rlts grab1 Royc~·s,

lOII{I! with h ~
pointing down
thu mb

- 148
 Sr~p b:u~
2 IMrk in
right leg and grab his wrist
with both h;md,-, K•cp yovr
with your

rlg'•t
clbow high, lt:*ft t-lbowlow. Royce steps
biKI: and grabs Charlc~·~ v•..-~~t Wtt h both
h;md\. s.ln((' Roy<t.> ) l(" p~o h.:tc.;k with hh
r1ght leg, he has Ills right e loow up a nd
h11> lch one down, Had Royu~ llt•dd<.'IJ
to do the ~<I'l l)(' to t h<- O\hc • shlc'. ~t c p ·
pmg batk wllh hi' lef1 leg, he w ould
hJ~ n.,. IC!h e lbow up .:md h!) hl one
clown •

. , Step MOVfld w tth your loft k9 +ftld p~lllt~

~ nrm under your <~Kmplt Pull his wtkr up
to break Ms arm. Royu~ st~JK aroond to hk ugnt
Md pulls C:harlefs arm under hk ~ft ati'Y\j)tt,
trapping it. He c<~n thert pull Chatlc'!:s forearm
up ami broak the nrrn

- 1.49 -
 Front kick (deflecting the foot)

Position 20 demornuated ~ defense against the 1ront kick in which

)'OU catch the foot. Doth defenses ~hown in this book are equt~ lly
eHe<t ive. but this option may be better when t he aggressor 1!. quic:ker
or at a closer distame and >"ou don't have a chance to step back lor o
good c.atch.

2 PIYor to tho rf9ht and sw;ng bcrh

arms to deflt:<t rJl#J kr<A. Vhth no
time to ~tep bo~ck. Royce piwu his bod-1 to
the right •.vhiJf! wfng the- motiOn to .swmg
1)0th arms n<ros'S his bodlJ, deflecting the lckl.

- 150 -
. , Pvf yovr right hiJnd 1.1ndr:r krtCC, IIi~
forword ~tcp
~ \VIfh your /eff leg, and grab Ms right shoulder with
your lett hand. As Chatle-~'l> momentum pull~ him o ff
b.ll.ltJC<l'. R4))'(e g rlbS Charles ~Jt'der the right knee with his
right hand and grabi Chaf'es's righ; shoulder with hts le tt
hand as he tol:.c~o a small !>tep tor.•1<11d with I tiS ~t!J hl l<.'!) .

S Kkk back l¥;rh your right leg. Lift his leg

with your right httnd, pull dnwn hi'f
shoulder with your leh halld. and thl'ow llim.
Royce &titlu "'' 1 ght heel u;,(k, swCCJ) uu
Charles's
leg. At thl' umf> time. ht> pull\ down on C hMi es·~
shoulder wnh his lett hand and usc~ hh 1 ght himd
10 pus.h up Cha t 'es'~o leg. <avsln!) ( hatles tn f<tll.

- IS1 -
 Knife attack from the side
•
...
,.,_.....
,,

: ; : 111 I
.
,,. J_.....
I'

!.... to....;' :." This varl.lt•on oft~ knife anadc has the aua•l&nt us,ing a \tdewa}-s
nabbi ng motion.

/Ch~t e" hold~ tho knilo in h1s. right hMd und

l>lf' t).) t ('~ IQ 1m.t<: k AO)'te Noti(C lht.~t RO)'C'C
"~;» .... , hJI\Cb up tn <I "\Urff'tl<k l" (_J(.~ IUH' t il \
"'.."CJ ~ 1 1on Wt~ rJtNI y h!clp lusdel eMe.

•7 Sttop forward wHh your ~It /oor. o,.. , I•'

olll6-- Md hoolr hi' wriff with your t~lt hMid Roy«
\ 1',1 1~ ll ltJ "( lttW" gup- iltl fi Vf' f1ntt e1~ C)ll l h4• \•IITK'
~l<la-t(l hlock and hook Ch<lflc\'1 \ 'l•ht 11 k mJ)OftMt
l t> hook th(l w rl11 'iO ~h,H (h,lrl~ <c'l•m<u f)\11 l'lk .um
b.t( < for .mother stab.

- I S2 -
 . , RNdl around <~nd grab the top ol his hitnd
~ w'''' you,- rlgtlt f1ilntl. Ho}•ce uses his rl gh1
hand to grab Charles·~ rig;.,1 t humb and hand.

4 l'u/1 down on hl.f right luMd to hvfff hlJ wr;sL

With hh right h ~nd, Royco ~w1,:ts C:twulM's v1n1•
by pulling down on his tight thumb. <~IJ'Sing Ctwk't
bt~nd down In pdln

!'••tall
Note- thl" p ro t>Cf W<J}' lO
col'l~ • ol 1he hr.nd. no )•ce·~

right hand grabs Chat es's

1humb, whilt his lull hool<~
ChlH les:'s ·.vfis t \'/llh .'t "clnw" gdp.
lhis combinat1on is es~nt al to maxi·
mize the to1que on Chatk'1'S wrilot.

- ISl -
Collar grab with stiff arm

In th\ variation, the aggressor hokh th~ ~.ct•m·s coRar \',ith a niff
...,"fist. With arrJ sort of cohar grab, t~ Msailant"s grip will determine
your defense In this c~ lh~ U1ff ,jfm pr~nts • problem for Roy<~
he Cdnnot u~ the defen~ sho'·~n 10 posthon 8 beu~ Chartes's stiff
arm will make it d1fftCuh for Royu to btnd the .;,rm with a strike.

- 1S4 -
 gr~b his elbow witt• your /~It
2 P.vot lttt.
hand, dl'ld striAe hi• wri_.l wlfft your
ri9hr h.md Roytt IWIOh to h 1~ lc-f1 Md u~c~ his
~h "'"'""" 10 9f'•b Chares\ e bow Tt•c ptVQ1h'9
actfotl\".11 (•Uk Choir n') wr~ 10 built e Royce
~, • ,,.,.., twrKJ ~~' '"e to 0·..-tH"s wr"'t to
t-elp m.J(f' tl'lt \.,,,,, 9 ••c. 1\ol u• H1.11 Ro•tce
mak.c·uurc he: ~« I~ his own elbow~ c101<! 10 hi~
bod)• ((W fJH'lllt'l cv~rag& and ronll ol. Tl u~ h
MpeC·ally amport.tnt whe.n lighlln9 \'I''Y II'IC1(' 0 1
r.rorg lf'dMd!J.31)

. , Pull lt/J f'lbow itnd ht-ml forwmcf lor b wrl:;r

~ lod R()ytc- 'tot"o(UI~
Chtlllf'\'\ lll';hl hl)nd -'9<Jin~l
hrs d114'il .lind p.ill~ (har1ti'S tolbow 1t."''••d lurn ,,._ hi•
btrds tOfWIIId, •PP't•f'l9 ptM\t.ft" tel th• wt~t ~(lor ll
Wff\t i()(~

[".-t_qi/
Note how Roy((!
k,c(•pS h i•. IIIJIII 1\fil'lfl
on 1op ot Chnrlcs'~
IJ.:tlm to plf•\•(•rU Ch.uh•~

ffOM J"mlllng hit hilf'td OU1.

- 1S5 -
 Wrestler head-and-arm hold
(bridg ..and-roll H<ol~}

The wrestler he•d·and-arm hold is a VCfY ~otld control posi1ion. Th~

aggreuor hotds th~ vict1m 1n a h eadkx:k while- t)11he i ame 1ime trap
ping the v1ctlm'1 t'lrm vodt'r his armpit.

. fcharlc" ha\ fiO'l (t n i)

~ lt('.ld ,,nd \lrm hold.

- 1S6 -
 2
hand.
Grab yoltr

Cindt your arms

right
wn')( with ,VttiJI' Jr•ft

against his chest. Plant bolt1

~1 on 1110 ground :md
bridge. 11 t~ ~tel)' l mpor l nn1
t or Royce 10 bm.:lge ~troi ght
bil<~ ovc1 his hc., d. pushing
o ff hh feet and lilting his
h•!» on high U!> IJO:.~ibl~ In
o ne- (01\1lnuou\ motion.
1 h is. will put Charles·~ w eighl
~varc over Royw's -.he:.\,.
m,)'(lng It r;;;sy h>• no}'C(! to
ro I Charles ovc• t ho otho•
:.Ide•

. , Push off with your right 1"9

~ nnd roll Mm OVt'f, Once
Chtulc~·~ wo ghl I~ corre<lty
dlnt•butcd over Ro;·<~'!. chc::n,
Roy<~ ~Impl y pu ~hc~ off hli ti<Jht
Jeg Md rolls Ch arle~ o ..-er to th.c
\tde. From here Royce hn<; .J
<.hole~ of pun<hlng h s wJy out or
'imply 11pplym.g the frame e\Cap-e
\hown in various other headlock
HC.tptS.. such .'1~ posit•on 1?.

- 157 -
 .,.- .._-..,, ... Backhand knife attack
1. ,. .
.'.·
it . I ~~- a

·--'. .._..
• • , ,
.
Sl f"

Th~bad:h1nded nabbing mobon demomtrated here is a b1t more

un<ommon than wme of the other knife atta<b ~hown in lhis book.
but 1t h 5'1111 an IMpoftMt pari of a complete kni t ~·dderne repertoire.

• ) .Srtp (orw•rd wUh your ngt.r 1•9 •nd

. , _ flrop In bast-. M.tke ,, fur wrrh your
dgitl tu1mt m•d bfoc.k eM knlftJ willa your
fore.'lftn. wrlu co wrl~t. Stepping ton'IMd
lull) 1~\e' whh hl'i rlqh< 1~. Hoy<e nt.J'ot~ 1
ll'lt Mid \I'll!., hh foteatm to b&o<k (t-..rt(.'1")
:m.td••

- 1S8 -
 . , Grab hts wrist 1vith yovr rlgltt lland and push it
~ down. Pull his l"lbow with your feft h;md. Ro;•(c
9f~lti Chalie$'\ nght wnrt with hi ~ dgh~ h{tnd nml
pu~hc:s 11 down. At the "'"'C time:, his lett a rm pull$
Chatters etbow l).)(k, plvotmg around t he ~hovltlcr.
lh11. wfll work even aga1m1 o l h ong • ogrc:.>or·, •.lnc;c
Roytc h u~1119 both .31 m~ u1 I>~' teet tcvcmgo ngni n ~ l
Ch3riM'~ ught atm. pl\•otln!) at Ihe ~houldor .

/f Ti.tko a big Hop w lrh yoor rtghr Hg. (Oilr!numg ro

~ push hh wrist wffh you r right h;md• •md pull h is
elbow down with yoo r loft ftotnd To con11na~ tht
1ubmh'iiOf• tHotlon, nov<e Mke~ o1 SUlPW•th hk rtght leg
..u., tight foot i ~ now f irmly pln'!'lted 011 '~ <J104Hwf -.o
thltl hh leg block<~ <harlti'S iti'Jht leg. ke-tp1ng (h;u1es
from being able t(l nun b.ld:. Royce continoe~ to 01...01
Charles'\ tum iltound the sho~..:lder jotnt by ~lllog the
elbow with hl5 le ft hafld •,vhlle pu1hlnq the wri11 \'lith t1is
ti{Jht afrn. The pre\1urc on th~ shCMJkfer Wtll force Chatits
to release tht> knife.

-159 -
 Two-handed choke from behind

In a to.~h1ndf!od cholc:f!' hom behmd thf. aggressor has all the advan·
tagcs; surpriSe, • Juperior position. .and the thence to quickl~· incapacl-
ldte the VtCttm The defemrve reaction mun be iwif1.

~ fop
2 Wfth both ol your h.omdJ gr;ab
ot his lwvJs by Uwt Ulr.P'I'tiJJ. ("-'1•1n
dt(tnck the- thoke by grabb-nq Roo,-c.t'" Nnc1
by tht lhl,.~.:tnd puthreg lJ'loe<'l\ Ololt

- 160 -
 . , Choose a sjde. Escape to the left? Then grab the
~ bottom of his right homd with yom' IMr h:md
.Jnd srcp back .uound with your right leg. J•ull his
thumb down 1vith your right hand to twist his w d st.
Charlei can e~t3PC b;· rnO'.'ing (.:ithcr• lc fl 01' l'i!)hL
Sm<t the-re •S 1\1> lnh('IC'Il\ a d\•,'lnlage lo eilher side,
)'OU should<hoos.ewhic.he\•et side n aturall;•lccls rnorc
<om1ort01blc to }•ou. Pr,R1li ng enough ; hJ t i'CHI will
•FWlflctr\"ClV !"'10\'C to I he more comlor1 abl e srde can
w~ you precious second~ in a wcet fight-jv~t m.:.kc
sure yOU do"'' get 100 l)l('dl<t" b'~:. rmd nMintaln the
abttity to mow! In ell her d1re-ction. In this case. Chnr les
<hooses lo es.taoc to the lcfl. Pivoting o lf h i~ lch 'oot..
(h.:ut~ ih.·~ b.><k through wllh h rl> rlg hl IC(J. 1\s h..;
doel tim.. (holrles pull~ Royce's nght hnnd, twisting i;,
Chint:s u~es IM !cit han\.1 on the bottom 01 I~Q)'I.<:'s to
fmptO'.'t It~ (()nlrol. Royce ..t.:nu to Ia I 10 I he ground
b&c<~u~ of the !)lin in hi' wrin.

tJ tm..,. to twfrt lhr wrfft

• submiulon he>tc/. Chili'IC-<
tvt )ttn.g Roy<e's har~d u•·ull
,_,_,_.,.,_ .\t thk point Ch<ul e~ hM
1f ht so <hoo1ei he

~re punJ\h.mcn~ to
IQ. tudc.ing. 01 even

- 161 -
...·-...
•
•
.w-
,..
_ ..
•
•
~~-, -

I
£_.
~
.....
,- ~ ,,.
I
...
_
...
Haymaker

The h 01ynwker '' ~ f.-..'Orite of unskilled lighterl. who rely on one big
punch to fini-sh a fight. Thrs bemg ~id. it is very lmportal\t to mas1e-r
the hQymaker defense, as it is a most likely !1\U~1ion 10 facr:.

t Charlcn ~tlHh dt!llvcflng o

lt.tyrrt•k~r, brln!)in!) hi$ fb i

all '"'" ...,,1r b.l<k ·•''ld

~whglf19
u ,. 1 'lUIJt \lf( to gtnerJtt- M,
"'uct1 f()ICCO....,. ~~idt

M~d
2 Srep forward In b.uo WJih y(H.Ir lf"ft lf9
cluck. Gel In tJghr with hint. both homds
bohlnd his kntttJ. Roy<e \hlP\ fo,wilf'd w•th ,.,,~ ~tt
len, illr~.tdy in ba..\e, .1nd dud:: ~ lilt P'•~h As Char! en
punch fJOI!'\ O'ler dt~ too. hk I'!"'OITiffltum _..,,, bf ng
him In co Roy<e. There K\0 much tntfgy n ~1\fomKs«i
puncn tnat 0\atles ptaet call, dot-\ • "'"~it
owr Roy<e'S back ftoor«: VW1 both tl.tftCH to gr~b
behind Chatters 1cnefl..

162 -
 . , Lih with your fegs, I'O fate y our
~ upper body. and hq.we hlrn over
your tN.dc flke ., Sitek of cemenL Pull him
with yoor kft hand and push with your
nght. ROytt: I)U~h c.•~ oft h ~l> IC!i~ ontl tu.:J\101l
Cha rle~o\-cr hi' bnck, u~ol ng hi~ nrms 10 aid
the 1ot.ation by I)U ling With the loft orm
31'\d PV~>hl~!) Ch&rles'S I: nee •uhh t ho rl9 h l.

/J Let go of him :u he 90fS ovtr your

~ I~
Jmck. Aoaln, It IMporttlnt for Roy<<-
to ml'lkc sure hi$ right leg lo; a\ upt•ght on
p~'llh t<:, "lO ChDrl<:1 doCStl't hit It and damage
1he knee a~ hf' t.llh.

- 163 -
Swinging weapon

A bdseball bat. A t\'.'O·by-four. An iron p ipe. Many conHnon objcC1s are

\l'SCd .as ···•eapons in str~t fight.s- usuall)• wit h 1he assailant swingi•' 9
·.·;ildl•r." at the victim. This is a very dangerous attatk and good tim in g
for the de:fendef rs a must.

f Charies holds a pipe and swings •• "Oy<e.

2 lime the swings and clos(' tlu• .9ltP .' !(IM lf•t•
prpc mls.sts. Ru;·tc dodges a couple of ~W 11!) 5,
timing the at1.lCI:"$. £ach lime, 1f necc:.:.ru)•, Rwu: H<:p:.
~ o~nd tur.•e:s hh body backwo11d lo I<: I l hc wc,•pou
<)0 b;·

. , Cll'ncht
~ Lock
your ~rms
around hf1
wain G.tab
your left
wrlttw'fdt
your rlght h;md. Get in good base. wlrh your hips tl<ni' to ftfm. Royc<.>
l u f19t~ fotw.)rd .-oo <hnthe1- tight a!. t he pipe mines, making ~ure he
l«b his arms around (h.Htes·~ w.>~S.I . Royce get:. in b~sc, ltnccs bcm
and h1ps dose to Charle-s so he can ua:,· wilh Chades. At Ihis l>:)hH It h
<Jery imporli'ln\ fOf" Rot<e to maintain his base because Charles w ill
suuggle to get away from the (lln(h.

- 16-a -
 /1 Straight('n out your l('ft l~g l'!fld tJ[()c.* IIi>' 1('/t
l,..f" foot. Sit down toward your right foot. Ro:•ce
shoots hrs,left h.•!) stt3 !Jh t Qvt. b iO(kin!J Chvrb's legs.
He then s•ts bOld, f a 1ing toward hlo; right fool lr. ,)
1

t(U3t•flg mot 0'11 and pull,ng Ch arles w ith h im. This

v.1 I (.)liSt (h.)t l t~ II) f;> I (fl)wn ~inLC hi:; ltg:. <I IC bcil19
bfotked by Royce's leg and he cannot s:u~p bnc~t .

~Continue rho r<Jt.Jtltm. floyce W1ll u1e the: tOC.I-

7 tlon ho g<:n<:rJtCd b;· ,_ ttrng ~Owlud h11o tt<)M 10
~n Ch.urlc:5 nmJ end v.p mourned on top of him.

6 End vp movnred on him: handr on the ground,

lelr *~• dose ro hh liNd. n'9ilt km.'CJ up. noycu
hen h i!o lelt knee d~e 10 Charfes's heart and hn$ most
of his wti!)hl o" t h ~J t ~nee, with his arrn1o on the
groond on ea<h std.,. o f Ch.ul es·~ he<td. lto;•r(:'fO ri9ht
hffi ~ dose to Cl1atle!o's 1otomach 10 ptC\'Ct'll a n\•
f!1titpP- II~ IS If\ J)('liOO COI'ItiOI Of I he :.itv<.~li On,

- 16S -
 Two-handed front choke
{escap e with should er loc.k)

Posititzm 5 demonstrated a ba~c. and e ffective defense again~-t the two-

handed front <hoke and did not tnvoh•e any retaliation against the
attacker. Here. Roy<e uses a more aggre-v.:ive techn iq ue that ends with
the .ltlack<!r in a shoutd~r lod. T11is i5 .l great option if you need the
control necessary to <.aim dO'Nn the anac'cer.

rnus'd~s. Royce t lghtent.

t l'flhr(*n your n«Jr
h s neck muules to keep Charlet. from
"""'"91119 hillai')'Oil wilh the chok.c.

n
~
Gr.1b hf.s right wrist with both hands: kh
q/IJOw up. right QIIO down. Roy<~ S\Jrls his
de fense b~r grabbing Charles's righll wrist with bo!h o-f
hi1 h tJI'ld$. Roy<e l•t~ s his r1ght clbo•.v down \ 'inil'e nh
l c:f t one Is up: thl$ •~o~iU htl~, lfle es<apoe by addmg
torque to Charles's •wist.

- 166 -
 . , Step through with your right feg. your foot stepping near
~ his righf toor. ;m d dudt. your- h-Nd through /lis hands.
Royce pNOts to his leh. steps iorward a round Charles's right side
with his right leg. and dudu hi:. hea d through the gap between
Charte\·~ Mms and body. Notice th.)t Roy(t Is ,:.lfcady t'(:'(lin~
torcue to Charle1's v.•rist by twisting hi~ 1o1so while both ha nds
~e vndpi)C'd t'9ht on ChtJnc:.':. right \'II :.t.

/I Keep going to his

"f f~ojtr..k, y(tur lcoft lc•g
stepping a1-ound to Ills
ICH, Roy<~ <.outimu.:~ t<J
move to Ch.'uh::.'s b;"tck,
stepping a round Cl·mrles
w h h hi~ loh leg \•JIIdc.•
sliU in control ol IIH::
wdH oruJ sHU twb ling it.

Cdail
Thk ~~ .sng!e 1.how!. the
poi1110n RC)y(t ¥.·ants r.,,feet H>
end in. Noll(e tnat Ro)I'Ce has nl\
r.gl•t eH)()Vo' clc>K- to his body lot
extta l~agr.

r_7 Step in with your righr foot and push his wrist
fCJ hrs c~r. Roy(t <etps h•s: etbl)w ~i9ht 1\!)ainsl
his body and steps forward with 11is nght leg, bending
(harSe-s·,. atm into a mould~r lodt.

- 161 -
 Side kick (defen se)

Th<' side kick delivers d. lot of force and is often used by skilled combat·
ants. Here, Charles attad:.s Royce ·with a ~ide kkk 10 the midsection.

bas~ and ~an k f t. Ger your tefr

! Drop In
t"fb<tw fJP. lt!ff forearm straight down,
.md P4lm towny Ills foot. Bring up your l'lght
forearm fo help the block. Since the sl de kid:.
~~a Pt)Wttful uril:e. Ro;·te uses both forcorrns
to absorb I he jmpart Royce aho lcJnt: h) hi:.
left to intercept the blow before it re-aches
tuft uu:ngth.

2 8/ock the kick tmd wrnp his le-g Put )!OUI'

rlghc hifld b(:hind h1s kn4't> ,;md gr•b hiJ
cnlf w ir.h your teh hand. 0f'lce he blo<l!.S tht
kkk. Ro~·cu (Ontrol~ Chmlc\'s leg bo;• grabbing 11
behind the lcnte with h ~ r~gh t h.lnd, whlfeU\ing
hi~ tc ft arm to wrt~p the l e-g.

- -168 -
 . , Step bade 01round wrtft your left leg,
-~pulling hi$ I~ bhrk wrti• yov. Roy<:o
ta1tes a step back wrth hi~ le l1 1e g as he pulls
Charles's l~g with him. PtC1~i ng down with his
righ~ hand on the knC!'C {flUI ~·ot•r VICight lulo
tt) help~ 1orce Ch:t rle~ 10 fall.

/I_Wmp his foot wfrh your ltft :um and gr~Jp your
~ rlgflt wtht wflll your ICJ!t htmd. Put your rlghl
hMd on his $hln IHtd INn IJll<k f.or 1/ooc lo<k Roy<~
fln ~~h<:s
thfJ po$1tlon by wrc.pplng Chnrl""''s foot w;th
hi ~
IMt M m . Royce''I left hllnd gra tK hi\ rkjht Wfl'\t anc.i
hh nght hnnd go~ o.n top of (harl~'s ~hln. 8y llt<hir\g
l):tck with his upr•er body. he apptl~s sJgnll~ru Pf~­
svre to t he foot . Chatles mun submit. NOCI<e how
Royce uses his right knee on Charles's right t.eg. ThK
"(lrvo-. two purposes: ll k~e~ Charl-es from g.ening
h.'lck up, M d II .also blo<ks any heel str•kts to R.o'/(c's
groin or stomach.

- 169 -
 Headlock against the wall
- - - .. on~•-·---·~~•

A hC!adlod: against the wall is one of the toughest holds lo deal with.
With uhe w.:tlllimiting your rnO\•~ment.s and putting press~• re on your
head as well. this type ol hcadloc" ranks high on anyone·~ li ~1 of
problem atta<ks.

~It
t Gr.11b his lt1lt IA-riTt wlth your
right
hand and hb
blc~ps with your right h:tnd. Royt~ grab5.
(h,ut ~·, wrht and bicep~ to 1.11ce the pl'euure

away ftom tht lolk

yours~lf
2 llook hiJ right leg a-nd pull
around. Roy<c t hen uses h1\ ngnt leg .on a
!look· to pull his bod~· around t.~nl il he b ~rpendt·
w far to Charles's body. Noti<e thc~t Ro-Jte stil main·
tmns his original grip.\.

- 170 -
. . , Ut 90 of h•J ~ ¥Jd pvt your rlght
~ Nnd Ott tiM WAll. At tt-i) pO JTl RO'V(t-
re e:ase t-1\ "'/'t """"'tNt pat~ •l on the war
lOI)ft<-"f!t''l•ny <ntf'f"opt by<Nrlits toslamRoyu!"s
hHd agairm t h• ¥.'111

/I Pull hr. left ,trm

"f out w1th yoor
Jeff h•nd. r.orn I hi~
iM'Ioglt. v.<(• (an~
tl\a1 t~ torqul'
.nflktcd on Ct\lt•h'1\
li•OI.Ack'f " t'ftO!VoiJ h
for flovtf' to N\.y
~ hmwlt 0111 of
,...,. held

r l"ush hlf wnu to Ills NJ for a shoulder

7 lod. lltoy<t appl•et. a \houldc•~lo<k
~ubm..suon by put.hlng Ch.t•IM'S lef1 hand
behind h \ bllck and IOW.trd h<t. head, appf~ 119
prt'lSUI'"t Of\ thot shoukk'r joint

- 11\ -
 Hand slap

This boolt con<:enttates on defense~ but sometunet the ben defense is a

little: offen~e . If you want to end a stree1 tight b~tor~ it ha$ begun, the
hand siJp to the fac:~ can stvn an opponent In a tl&sh. Because o f its
decep;lvene-ss and QUid:nei~ it is also a dcmorallt lng str ike. This is a
terrific move for a woman to us.~ when be in!) harAssed by i:J l;nger man.

! T,Jik fM<Jr IO f#Wo guy "'lNW"

1M . , . ., Why .,. you doing
tltb l I don't WMfl M'IY ttoublet•
K""P your h•rtdJ down IO ~·
slztt th~t pofnt JlJm your right
shoulckr bMJr il IIW~. hnndl open.
FoJC.CI.l wllh an un ••voldt~IJ c situa·
liun, 1\Q)'CCI fHCPMC'i hi• Surpthc
~t1 lku t)!t d h lt11UI119 with WOld\,

- 1n-
 2 St'Vfng your body forward
and le' yovr lr.•md go. The.•
W(IC\ of the hand >l{ltl Is pivoting
yo1.u bod>• bad:., then ou~hi ng of1
your rear foot "''d )',\'ing ng yow
body for\'lllrd \'CI)' qulc.:kl)•. Just let
thl1o mohon pull your arm nround •

. , SmDck him 011 ch" f.rcfJ. Fo,

•.'~ opt lnwm result~ ,1ifll f or thot
ear. 'rh•s \'Jill make your oppo"ent
comple tely dlu y cm<l glvt! 1f0\l an
opportunity to get tlw.:ly or mo-.·e 1n
tO put him lr'l ;a su bmis~lon hold.

- 173 -
 Breaking up a fight
... ..: ·-,
•
,,.
I '
-~rll
lif,.
I
1r h
-
....
• •

.- .
,

/ -
~--·"' ~ ... J
Somed.)y you ~.,. be ron:ed to bre,ak vp .;l fight. Thn. coufd be a situatio n
wh et~ t•NO frifnds have ~n to ~le or whtr~ a st rangf!'r has a11acked
a fri~nd or loved one. One of the many .)dv3n1 1lg~ oi Brazilian j iu·jitsu Is
that the grappt.ng tcdmrques i't oHers allow ior complete <o ntrol o t a
<omb.ttJrll without nc<c-ssarity harnuny him,

2 Put botl! hMd.s on his shou/dfors.

mtd push the: ba<k of h11: right
kneo wlflr your righ t foot. Bend hfnt 1.1-•<A-.
Auy(c: gtilll\ Ch.atl~s by t he st1ou!den wtU\
hc1th hi'1nd1 a nd pu\he-s n•s r !Jf•t foot ·nto
thfo b.ltk of Ch.drleos•s f ight atq whitt
ll~l lng (h;wk-1 ba(-oe: by the \hou dc!n..
 . , Wr.tp yoor lett ;um armmd
-~ ftl' Mttt. ltO)'CC ) IOI't'\ 10 ~ot
Ull thu lhoku.

/1 Gro~b .,our rlt)ht bicwpt wath YD4N

I-f "''' h.drtd •nd pofJrlon
h•nd lNhlnd his hHd. ltfl'tt} your
row
rlt/M
tfbOWJ (O!JO(ftflt •rtd cJIOb lt/m ()f'l(ft
Roy<e h~\ t he ptOfiC! grip Dnd hk IOh
1tlbow 1\ centered untlcmcmh (hc'lfle+,\
c.h!n. ho cao (hoke Chari~ by btlnq!~
both tlbo~ together, elipan<ltng t~o~
chnt and us.ing his back mu~lll" to
~n Sqvtoe~ 1~ l"'t<k ,Jrf.:t •~ •f )'OU
.,.. tu)qtng an o..d ~ preu; ng "'-"
10 your ~t. Th1~ pressure .,.,.., ~hr
A ftfo tN> blood~ to the bran.
<A<nir'9 ~-IT' to pass out. A~'~'~bt-.
~ on ~t~e s.twt~on. yo" m.v
to g; ... the aggreuot a d'Ninct to
~you make him pom out

-175 -
 Full nelson

The fu ll nekon 11 .l farn~ty drfficutt pos1tion to eK.a.pe f rom. The

aggressor hoolu both arms und~ lht vtellm't armpl« and gr.lbs
behind 1~ ne<k. cornpfetmg the lock.. It you do get \lapped in a full
ncl.$0n, there are maneuvers you can 11)' be-e positiOf''IS 80, 81, a nd 82},
bvt lh e absolute best defense against the full nelson, demons-tr.:.ted
here. i1 co prevent completion ot the lo(k.

R&yt~
t OoK> Clollt •rtnJ antlupatc• the
lui ~ ioO"~ ~ t~ bolt' l iM\ 10 hb
body. \t0f>flt1'4J (hb!IC'~'• ability lo cnnlinuc
tt'le •oo:ton.

~s
2 Drop down in l»se. to<k yor.u
and grab your nghl wmt wrtn )'(NK
tofr hind. Your arms .shoo'd lock 1!11 f'lbows
Aftf>l' he d rops in base, Royu cor.uot' CMrf~
by napping both a rms arO!Jr"d tha e bo\Vi..

- 116 -
 " ) Puthoff yout lt'gl 4mtl 'tNd·bcift Mm.
~ItO)'(~ drlivttS :. r>OWC'IIUI head bull b}'
PU\h ng ott 1•1\ lc91o ;)nd ~on app ny h i~o hc,Jd
b~Pel.. \tl hnCJ (h~Uir't'\ no~ with t h(' bac;_k o f
,.., f'woold

II sr•• nd ftfJigllt ltnd d~ll'tlff o) ""'ftrllr•·

'1 to hlf groin. Sometime-s the opponent

~• 11try stubborn <111d won't f~t go t.'V't' n .tftet
thlt htad butt. ltl ~uch aSH a heel ur•~ 10
t tt QrOin will do the t'kl . Note that stf!JM 3
• J 4 un be wOO In r-cwrw orck!'r jU\t a\
•fffthvtly hf'tl Stllke to the groen folbwtd
. . . . . . IMt

-177-
.·-}'...,,., ! J'.!
Full nelson (can't b•o•k out-th•ow escap•J
. . . 11 \-..:, ,.,_
...

~
. ·- When you -seme a full ne.son conwtg. uy to prevent 11 w11h 1he te<h-
niques shown tn oos•t10n 79. ~ )'OU • • too latt, however. or il yout
opponent is so strong thll you un·t •top htm from wr-apping his arms
around ;·ou.. thu. mon pr~ts hun from completely ~cum-.g the
loclc. If you get completety IO<k~ •n 1 full nelson. yov need to usc the
escape sho·....n in position 81.

t(h~rlt' turptbtt
ch•¥•1'11 h!JIJ""'
Royr~ 1ro m be hind,
under Royce's arm• and
<'asP•I'\9 ht\ hi.,ds l>t'hln(f ttoyce·~ htbd bnd
~~~ng•tlotW.Jid .

~)'Out' right wrift' W'th yrNT

2 Dfop /n fwl.,
~It lt.Mtd Met brMgo thMt co yocr f~
Royt.e drops I ' b.Me ..m.tt lou.-.g t-is hands in 4 ont of
h•• forehtlld. In thtt pMJMn (Nd~ can I'M) lo!'11CJ('~
add pr('iSUrt to tl1e !\Old

- 178 -
 It) Sttp bo1ck wilh yovr righf leg. Pltmf
~your rlgftt toM pltSt ltis rig/It foot.
Bend lonwmJ, head toward the ground, and
f'\.,.isr )'C)ur body to rho fctft for tit{! throw.
Ro)'ce .rt~ps back wilh his rlghl leg ond pl ani(O
t!h ~~t)hl foot past ( IHUi t S'i l l !)ht foot,
blot(if'll) h ~ I'I'IOVC I'Ill!nt. I~O)•CQ drOP'· ClcJWfl
and t wim his to~ to the: lcrl1. Th e~ will fOsull
In <J t hrowing mo tion{)~ Chnrlt') h lt iPI>CtiiJi'
RO)'C<!''1o llghl 1~ .

/1 H•W ltmd either on hTs fnnt or hlr

~ hHd, with you on top. Either w.ly
ttM! "'~Jiant will r~lcws~ the hold .

- 179 -
 Full nelson !comp let e ly loc:kedl

In this variation, Charles sutpris.@d Royce and was able to loc;k on the
full nelson before Royce <ould react. The- grip is solid ly set .:.nd Charles
has good ba.se~ rnakmg 11 diffkult for Royce t o use any of t he previous
es<:ap~s- lhis defense is very effcctiv(' in th~ event that ;•our o pponent
ir• ,,.ery strong and you are late in reacting to the a ttack.

hM~ >~nd lock your hilnth together.

2 Orop In
left hand to right wrltt, In lront of yOlJr lore·
hOlld, Royce drops in base and rel.eaY.os rhe p~s~.~re
from th e- fvll oelsoo by locking tus hanck in front of
his forehead. No matlet how woo.g th-e aggrC!'SSOf is,
ho CM no longe r apply more pressi!Jte with the lo<k.

- 180 -
 . ,Step forward w1'1h your right fey
~ Mrl ~ft b,ut. noyte o;l•etchc.·~ his
right le-g lo iW.)Id ,,.,d srts tlown, whit'-=
1>u~hh~9 ()fl hh tcl1 le-g, lo•titlg Ch ..ul c~ lo
the ground.

/1 As Y<NJ hit the ground Md ~~~ l'f!ltMUS tht grip push bl('ft on top of him.
~ Gr1b hit right wrlJt Wllh yGur lclft homd. Wrilp your rlghf O)fm nround his

.eow Jnd gr~b yoor own

tr wrl t Push hiJ wrist
to b,.ak hl1 :vm.
Chlrtl:' r~leas.fl
the hold as
t;~. ' down. Royce tiipllal·
ttu" poshlng off hl'i
; to get on top of
M-«. Royct then
tOl Chari~'"' right wrln
h:1. left hand and

--"'::0\arl'
Cl r,s'!
t"-" right arm by
own right arm

: tlbow and
•o h•<~. own feh
oushtng down on
Q_,.,-, oaTrs.t Royce can
o.r1n"t c-ibow to~nt.

- 181 -
 Full nelson t roll and throw esca"")

As d is~ssed in position 79, the ben defense against a 1ull nelson is to

avoid .gelling lod:.~ in one when you feel i1 coming. Sometimes,
however, one does not react quickly enough. This technique works best
when the lock is not secured and can still be bro ke n, o r it you have mote
strcng,th thlln you-1 atttad:.Cf and c.:.n break the lock. Note, however, that
it can -still >NOrk ~n if you don't break. tht' lock.

1
Ro\'<e ha. Chnrl"' In., full nelson.

2 Bring borh itrrrt1 dt)'m'J h;Jrd fO bnMk his grip.

lrilp his <1rms undei' your armpits. Chari~
bring\ both .Hms down hard. bn:..tk;ing RO'J'(~*s ()l'ip.
ffi1is defense will worlc even •f'I"<~V <He unable to bre..._
~he (ltta<kcr's gnp,) Charles tJas» Royce's arms under
his own ;;rmfl.ts. Roy<~ <.Jn no IOr1911!r rernov-e his ovms
to at tempt a punch or P.~ape-M

- 182 -
/1 • oll owr your tlghl
I-f ~ A~ Ch..t,ltt
owr t . ,,qht ,hou dtt
tfltOW Royt~ h~Cdd
to tf • nroun<l

- 18)
 Head lock (anatkcr tountcrs earlier moves)

HE:r~. on<e again~ Charle-s has Royce in a h<'adlod:.. This ti l'n~ he I•<J!> h is
f<~ccdose to Royce's, to aYoid the ira me e~CGpe (position 17), a nd
when Royce anempts to pull Charles to the gfound (position SO) or
hook Charles's legs (position 39). Charle-s counters succc-ssfullt cnch
tirnc. Uut Royce hM still another trick up his sleeve.

~Charles h ai Ho~-ce In a
I hcodlotk and avoids
t~ o;·cc's fl r:.t illh)ttl,ot nt
t::S<<Ipi ng by l ollow ng
HO)'CO':J body d) he tries
to scoot aw,,y frQm
Ch<JM\ in order to pull
him bt'l~k to tho y round
(po~il •on SO). Not ice
Ro~·cc':. right honci gr•p-
plfl{.l Chiu l~~ ·i {lrm to
rol<:ll5<: the pro"-~vrc from
lhc hc,,dl oc~ .

- 184 -
 •7 Hook his left leg and
...__ fry to g~t on lop.
Roy<:e nelCI throw!> h 11 left le g
O\'er Charlc1o's l ~.>ll leg <Jntl
hoo1:1 It Roy<e tries 10 pu~h h i~
body over Charle\ (postlion
39), but ~ l u1o th'nC (h,lrl('\ COUll
IC:t\ b;• op'-"ning hi); right h~g.
which pre vents Royce l mm
10llrng him 0\ICI •

.., Spr~<'d yoc1r ltgs lind

~ pmh off yo-ur right leg.
driving yot~r loft shoultNr lnro
his right shoultMr (m tll ht: J.ets
go. Royc:o IC!c.11c' the hook
lnd th~ \houltler (Jtlp nnd gfla
to hb: kn~ He 1pr(.•<~d<> hi1 leg\
.and applle-; pr<!'i~Jrt to Ch,l tt es·~
~ktef by pu~hlng off hii tOC\
~ pr~nlng hls left shoulder
• 1 Chat1t,:'~ right ~houlder.

1lw p.,an will force Charles to

--tfw. ~ad lock.

- ISS -
 Headlock (esc.ap<> with m u ltipl e adj uotments)

S tte~t fights iuc not stahc ~tuat ions in w hich your o ppo nent st and:;
1here like- a mannequin while you put ;•o ur mo\•e o n h im. Ra th er, t hey
are d ynamic contests m which ~"'ur o pponent attempts to coul)tCf'
every thing you do. This is Mpeciall~· t rue with headlock$, and it is
o ften n eces.sary for you to go from one escape v.lr'i.3tion to l)nother as
your o ppont"nt adJusts to your mo\•ements. Pa rt i<U iarl~· ag ainst
stro nger or highly skilled opponenu, you may not be able 10 escape
frotn fl headlock by either kn~ling and rolling (p osiHOii 50} or pulling
yourself over the top (pc»11ton 39). Here, Royce f aces a vet)' stub born
opponent who won't let go, .:md he has to ad d a new escape.

t(ha• l~~ ha~ Royct.- in ,, he.1d /O<;I:. \f'.'ilh

his lc h !(!lee up, RO\·~ t•lcd to u ~o t h~
\n~Hng nnd 1o!hng t:K ope (po~lllon 50)
bvt ( hJ IIeS IQIII)v.'t'd RO}•Ce- ,)!, he llh·O h:>
KOOt h· ~ lt~ t» .wtO}•. Roy~ then ll'lcs In
~t(•J> ') tC) US(" t h~ t.'Stl1 f)C dcmomtrl'IICd In
pc»t1lon 39.

2 Royce hool' Ch;attes't ltft leg wtth his

own, but, .u he a ttempts. tO push
himsC\If O\•(lt the 101>, Cho~rl c~ op~ns his ngh1
log ond resists.

- 186 -
 C) Lt>t go ol ev~rytMng
and put both
...~hands on the ground. Go to your
knees. Push fotward <Jnd pt~t prtswrc or1hl,f
shovlt#tr. RO)'<e leu go of e..-el)•thing and
90M to his knees. As he ou~hcs foroNt\1'\i off
his toe\, Royt:t' will tu.1d treme ndous pressure
10 ChtJrleio'S shoulder. Many times this is
enoogh f or ;he aggreswr to let go o f tho
hold, but Chad~ is a formld;:tble a dve·~l)·
:nd h~ d~n· t le t go, lorcmg Royce to go
one step lurther.

/1 Jump co fh• olll•t lldt :md

J,;f grnb ~~~~ wr/.st with your
right hand. fJced v;ith .a stubbonn
<'lggreuor ·who Ms ., hl!Jh J>..1l111
tolc.• wncc, Royce contlnu~s th~
motion by jumping O'JCr Ch.1rlc~
ond Cr\d!ng up on hi) l('ft slcfto. At
thl\ point. the w o1su•c on ChMCl\"$
~ldCI' Is too m~1ch nnd h(: leu QO
of the: hold. RQ\•C<: <tvlckly u~ hk
GYm nqht hand ICI qrab ChMies-,
Qht hind and pull It .J'.V>I'f.

r7 Push his arm lo Ns right f'3r for lt shoulder

kxk. 1\oyce llnlshes tht> move by using his
ttght hand 10 push (h artes'~o right wrist tow,110 hi·.
right t'ar for a shouloer•lo(k submission.

- 187 -
 Wall kick
.. -
•
,...a \..,.~, .__
•• .~ •~­
,. ""!.. -....
._
• ..,• A ', ...""••
Being tt.lPP"N •gamu a waU presents spc!<.ial d1ffiwlti" for defense.
Not be•"9 a bit 10 move away Of step bac-1:: limits you1 option!>, and
absorb•ng o blow\•Jhen you're against a hard surlace can be much
more dnrn\lgiog.

Chafit-sha~ Rortu to•ue•cd .:Jg/Jiml 1hft wall

/ u.nd geu read y' 10 d~ l lt.Jt'l ,, rlntu kick.

Pi~rot your body ro 1M t'9M ~IHJ rwirtg

2
Ro,<~
)DW ie'h .ttm. Ash~senw\ t»w •.c1c. <omr~.
qukkt-1 piwon h.s body .. "-d SO'•"'S1 h" lt-*t
.um to c~ Kt the OC<-.

- 118 -
 1t) Yovr !~It
arm rh!fle<t s th~
kick. Tlmln!J. ()(
~(OUt~(.. b o11 vt•')' lmllOit.:lnl l ae1or In I his de leme.
but notke that !he .um defl'coion motion tHwcl ~ a
mlKh shotler di),iltKC 1h on the <11;\c, l ht~t l•l rv glvlntl
the th:fC'nder a \Dfl't)• m atgln.

~.~nd
4 Pivot b.1ck strik" hl.s folCe wflh your nght
elbow. A'> Chorlcs fall ~ f(ltwiltd out of b.1lance.
Royce reve"e1 hi~ pivot t~nd dellven a deov.tstating
right elbow sulkc to Charle\'S fJ<ct

- 189 -
 Front throat grab

In th•s "tuat.on. ChoariM graM Roya"s 1hroat Wtth his right hand. From
this pos1t10n C~rl~~ ciln push RO)'C<' bade 01 punch him. This defense also
work~ against an <lggreuor who has grabbed )'OUr' h~ad b~r 1he hair.

Ch"ll('~
! h<lh.lt Roy<c
by the ned•.

- 190 -
 right~
2 St•p blck w.th YOU#' andput
both Nttdr on Ms wri.s:t. ~It elbow
up, nght .Jbow down. Royce: ):lC~p:. OOck wllh
his 11g hl lcp tJnd U' "'~ Ch:ulc~\ riQhl w th l
w1th both hi~ h a nd ~. 1-1(' k~t rJs his lett elbow
up and h!\ right one dO\•Iu .

. , Jr.p Jn frotn wflh Y041t '-It ,.,.

~ Mtd pull hit •nn MKI tr.1p lL Utt
wrlJt fO biWA: eM amt Roy<c ,:tel)\
t ont of Charle-1 with hl1lef1 l«:q df1d
wt 1lt puiUI'lO Ch.atle''"' Arm
.,._'<! ••·· ttiP\ Chatle\'$ ~11r1 \U,der
' .1·-ci can breilk •t h)' I>UIIInq
• •

- 191 -
 Headlock {bend;n9 ba<kl
. " ., .
,,. .
# • •
• t....
• "' a
!..... , ~
.
•
-
... 1 .. . . . . ...-

'
~ -

1'
,
I
I

Here, Roy<e "not dr~ging (hetrtes bad:.\'t.lrd by tht headlock. as in

posrtron 37, bot rather IUSI bending him bclCk in a stationary manner.
Since he do.\ no1 have to worry abou1 noppln9 Ao~~ce trom draggir'lg
him, Charles. can Jlnt appty this easy es.capco.

~on fliJ l~nn. ~en ~ny

!
1-~
Pur lxtth
cho~t.Ch.;lr n·s "•r11 ~ k lo prolecl
ned. 50 he puts both h.mos o" Rorce's
fo,,.,.,, .. s
net pul (to.•.-n

Sr~p ~round to hi$ tN'* Wtth YfW1 ~h ~

2 K~~p your hips do-s~ to Jlji hlp$ CNtk'i 'RC'I'K
around to Royce's back and pu\he1 h s hlp ir'ltO Royte's
•i uht hlp, h1s l efr I hi gh ;:.u~h ng Roy<e1 r•ght ""Mf .lAd
WU,IIIfJ It to bud:l e.

192 -
 . , Lift yovr body ~tnd throw Mm ovttr
~ your bKk lika • sack of potatoM.
Charlts w II throw Royta over his bock b;•
OVIIIng AO)•(¢'~ I QI C~ rm ~ (lOS!. hi> bod~· w hllt;
lwhllr'lg hi~ tort.O.

/1 Hold on to his Mm Ct1atle-t toops. a

~ hold of A.oyce·, right <ll'm klf control,
or In case he WM1ts to ••dn~lrtkter furiiK'r
pun•U\ment.

- 193 -
 Gun to the ribs
.
.. .
-
.. ., .....
I••
•
,, .. , . - ,
• # •• I

1r r ,...,. ...~
-
iii , .. "II.
, - ,
, A gun to tht r•tx {tht- stele) cal~ for a ~tghtty different d~fense t han
when th<! gun •s Uu(k rn either your front or your back. 1 h i!> posit io n
of1en <omes up during <at jo"Jdang!..

2 tn on• motJ·on. pivot. to your Mfr. wrl#p "''

tight wrkr wlrlt yocn l«f "''"'" •ttd smnh
your rf~Jht l"lbow irno INS faa. A\ ..... th M'f1 ..w.tpo'l
defeMt., a q..ao, (OOfCtnatl!d motion ., a ,.un. Uote
th31 Ro)'<e p.h·ots his bod; tovqnJ, tnt wt'•pon and
usc!i hi\ left arm to defect the gun 1\ ht \",'faps
( harl&t'S hand 'Kl t ha t the n0$C! c( ltw: gun \II~ p.lU
hh bod y. I( the gun goes off It Wtll rohs

- 19.1 -
 gr,,b tho top of tlu~ gem
. , KHJpirtg <OIHrol ot his w rln,,
~ b.tttel with yovr rlgM har~d and pulf It It is \•e1y
1mport;,nt :o gt4b the top o 4 the gun b ..mcl, bot h for
t!'\lt'fMJe a11d ~a l etr. Royte nlJ k e~ s.ll te he do~sn' l <OV<Jt I h e.'
end of the baf'fel. 111 os.e Charles 1\res the gun,

/I yourt~ff
Control the gun and kHp a wily
'i' from hfm. By holding th~ bdrr(! of ltM!
gun. Royce h.)~ h-ettet le-ver.-lge i'lnd co1n ~~mply

peel the weapon out of Chatlcs's hand. \Vhile

doing so, Roy<c mo)l ntmn ~ <l !Klfc distance so that
Ch•rl~ can't surprl~e him and ell n('l\ h m to try
to take back the gun.

- 195 -
 Guillotine choke (puu;n 9 up)

Arly guillotine <hoke ~formidable.. but when w ell applied b)• a taller
op ponent it be<omes particularly difficult to defe nd agaim t. /':1, taller
perSOtl will be able 10 lift the victim o fi th e ground, requiring a very
spcdalizcd de feme by the Vlclim. Here, Royce ha ~ Cha rles in a fro ,, t
guillotine and lifts him oil the ground as h~ cho kes.

t Hug his shoolckr wWt your ,-lght .11m nnd put

y our l~h hand on his kneco. Charles uses h!s
right .a•m to hug ltO)'((''i Sh()uh;h~• 3nU t)I,J(.'t'~ his
left hand on Royce·~ l~g to ht:lll him $prln[l up,
e~Wr~ the '"t~lur t from 1he <ho\:e.

2 Jump up on him. hook the fruick of his legs. and

9mb his wrist with your teh hand. HMg your weight
on him. Chnrle-s rumps up and hoob RO'/(e's f.e.g: h<'" then
switches his l;;it hand from R(ly<~'s k nee to Royte's right
wfi~l to release t he choking pres~ure on h•' ned~; . He h&n9S
h•s w el9hl on Ro~·((! v nt I Ro:,;c:e t ires and l ets him do-.'ln.

- 196 -
 . , Stl!'p around to lt/s hJft. puWng your lttfr hnnd
~ bolCk em his Jcn.e so h• c~n·r knH you. and hir
the back ot his lttfl krlt'e wW• your rlgltt log. M KlOn
.u Royt:e PlltS Ch~rles down, Ch3rlf!1 s tep' i\round with
hi$ 119ht tc.-g ...,nd hi!> \he 1J1c;k ot Ro;·cc:'s felt kuco,
bu<.kllng 11 and t.l~lng hlrn to tnc g1ound.

/f Put your left lmH on his Hlly

'-f itfld t~pply wcssuru ro hit Mck
w•th your righ t 1houldfY.. Cl'loltl~
now ptaces his left knee on Flo·;ce's
nom&ch Md l'lt the \.i1mc t ime dt~\t(.'S
his right 'houtder Into Ro•1<e's nc:<k,.
choking him.

- 197 -
 Handshake grab

It starts as an tnnocent hand$h~ke bet\oveen nrangers, and suddenly

the aggressor •,"IOf)'t let go. This c.an be the prelude to much nastier
situations. so it is ureivl to i<now how to take charge at this carl~·
SU'lgf!M(For an even -faster variation on es<aping unwanted handshakes,
see position 91.)

2 Drop In b4sCl, J ICp (ofVIIiJrd with your leh leg,

then readt around Ills right ~bow \vttlr yfWr
loft arm and grob his wrist. Royce no•N ueps v.ilh his
left leg to ChiHies's. side 3••<1 wraps ili:s U!ft oum MOund
Chnrle-s's right a rm until he can hold Charle's's wnst.
Royc:e i s now m complete control o f Ch.atle<s arm.

- 198 -
 C') ~ fo~rd •net dnw his right hand down,
~ g1ab h'" "Y~t ~f'd mth )'OUf' /tffc. •nd IW" M.s
wrist tcrward hn ~bow Ro.,u uses h •S to rso 10 hefp
~ Chall~'s hand un\tl ht (;)n tt.Olh tt with h1s own
left ha nd. t hen a pplltos bttcme pressure b}• b.-.ndllitl
(har~·s ho~nd toward his elbow for a wri~t lock.

C<'fait
No i C: th~ COi rt't I
gnp for sec:min~J
the wli~l hn '-.

4 Stnh h'J 1/vo.lt 'M·oth t-OW ft9ht hMld RO)"''t"

fm lhe the t"''IW by P"""khlng lht aggrn~
...,,,._ j) rlqtlt hJnd W •lr to lhl" thr01t

-199 -
 Handshake grab (quick d e f ense)

If you just want to get out of an unwanted handshake g rab and do n't
need to worry about ending with a submission hold (as in position 90).
lhi.s is the way to go.

2 Chorl01 won't le t go o l Royce'< hand.

- 200 -
 . ,Drop in bas•. gr»b .)10(1' fi9ht thumb with yow
5t~ Jndf• /tt~r,rr.
otnd pulh ytHN knl.ldk •insr
his hand. Royce 9npt; tu~ r~ght thumb with hi~ l~fl
rdt"X linge• antJ dn\'et t he: luu,(klc or the index
fingef bet-."~" lht- bon~t. o l Charle1's hand, d r«".;tly
on a tendon. rn ,~ h ~utpti~ingly painful for ihe
l('(tf\"tr

'f'!'tsit
Here you f ,1n '~~'~"
the wn•t lhc lncf(lll
lln!Jcr Is pu ~h cll
llOftlns1 lhC h0n1l. UM•
the lch ihumb 10 1'1Pt11y
the I>' <'1!.lltco.

4 In poon Ch., '"' r<lu"" hk grip

- l01 -
 Headlock (aggressor ag a;nst the wall)

Instead of having Royce prE'SRd ~gainst the wall. as in position ?6,

h ere Charles himself is leaning against it. This situation can arise when
1he victim attempts to e-s<ape- and in the scu1fle ends up pushing the
ilggrc:Ssor agtwut the wall.

! Grab hi$ wnsr W1fh your right homd. In

this case Ro)•re cannot use hi' lell hm~d
to control Chat c~·~ h1p bet.Juse the hip rs
fl,ush o)C)mlnl thC Wo)fl.

2 SttJp l!Tottnd in fronL Grab his righ t

leg wfth both ho"'tnd1. RO)'(~ S"t<'ps
.:'HOvnd to his nght until he is square \'ldh
Chari ~ . ..leo then 9fJbS Ch.'lth!s's tight k-g
wilh both hands and pulls rt up off the:
ground.

- 202 -
 . , Pit.·odng off your right foot., <ircf<> b;J<.k w ith your (fJfr
~ ~ ,md pull htm down. Ro;·ce pivots off hl~ right fool
oJOd <lfd es bark with his leh leg, <au~ing Charles to tall to
the ground.

/1 t~t yo of ewrythmg
~ ~,d put both h#nds
on thfl ground. Royce•un"ln
con<c:rn here- I~ tO rem.ln\ in
\OIId bOl~t, $0 he goes Into a
fO l.lr•f!Ohlt Stdfl((! _

S~r your lett foft'rtfTn on lu'~ j.nv <Jnrl

9Mb your lefc wrlrt wlltt your rlgltt
hand. making a frame. t.ean forw,,d ~:~nd put
your weight into tho frwne. Roy<:<: u:>u•. the
dauic frame to re-lca~ thf' hendlo<:k. t!rom
thi~ angte, v.·e can sec- thai hf! :.hifh lu:.
vol"tight t o the ftMl(', applying pre<;~me on
Cbarte!O's jaw and thu~ making him rdr- ··<.>
the hold. Remen'lbt.'r ''01 10 t l )' to pt.l ·1 :t :~r
htad ovt of t he lock b'v force; make the o ther
guy submit.

- 21!3 -
Side-kick defense (aggressor avoids takedow n )

tn this Kcrwr •o. iK Royc:e bf~ and traps Charles\ I~ wllh the te<:h·
mque sho·wn '" f)OS1t 1on 75. Cha1l e\ avoids 1he ta~edown by ho pping
on his left ltg. i dJUSting to Roy<e's body poslllon by staying squart'ly
in front of him 1JS Royu anempts a takedown (position , S, step 2).

f Ooaees • •••••., o •Ide k <k

but~
2 On:Jp in
C"lbow
INn It>ft. GH yt)CJt' lc>lt
up. lfff totHrm str.Jighl down.
Mtd f»lm IMiftrJ IJI} foor. Bring your rlghf
IOTNrm up ro hrtp the block. Rt>yc,;e u~o~:-~ the
w~ ~oclui\IJ uheme •hown in I>OSi1 ou i~
(tllol.•m ht.•rt• !tl tm ~·111 l• •r UMJu) •

. . , aJod' ¥KJ protb tt.. lt<g. nghr hand on , It

~ hand gnbb.ng owr the •nk/e. Royce i\ in p()~•·
t1on for a 1akedown, but " " " 'es p w\•cnt~ it b;•
hopJ)tng on hi• lcl1 leg. forcing Ro·rre 10 <.h,:.ngu hh
strate·gy

- zo.= -
 II G'4b .,,..., "" .,,.,. With yout
"f ~If ~ntl. tl'l-.n SWttch your fight
tt.rtd •rtd gr#b II1J ~rm Roytc th;:tngt''-
.. n. IJ' p o, Cl1.11 ~s. hh ('ft hand gnp-
P."') under tl'!e kn~e v.hile h ,. rig'u
reiKhes behl"'d (h.Jd('~·~ right lr kcp~

S
tU)ht
Ht»t ltd a.tt ,.., w.th '1'fi4J' ,.,.,
A·'/ Roy<t' \I('PJ I~.JiO -..nt"' h \
t9 JACI hOd:.:\ <Nt"lf<s lttt Jtc).
t,l'clt1q MtotJ Ctwr'es"' orb1hty 10 ih'Oid 'he
t.ro~.tdown I" pawl 1on 7S by f,oppng otnd
:\I.Wif'IC) i<IV•lt~IJ n ftOfU of AOy<f'.

lorw~ttd ~md pull bile-A on

6 1 Hl"'
hi• ,..,, lo CA('(UIC t tl(' lhfOW,
Ro,<t ~"n' torward, twining hi' bod;•
to ;ht ltfl ttih It pul lr•g Chbfi~'S 1l!)ht
'<t-9 b.t<l. Jf'ld N\ right atm auou.
Ch¥'" tllk on hn badt.

-205
Gui llotine (arm trapped}

The tradrtionalguillotine <hoke general!;• involve!. su rrounding -the neck

w ith OrH:> a1·m while g1abbing that ·. wist ·.·:it h the- other h an d, The
<hoking pr~ssure is applied by puJiing up the arm that is wrapped
aroun<f the ne<k. We have previously dcmonstr;:,tcd two d~f~nses to that
situati:On (positions 16 and 43). In both those cases the de1cnd cr hod
both arms free. In this spe<ial <asc, howl"!Vl"!r, Charles a lso 1rt:~.ps Royce's
Jrnl in the choke, limiting Royce's ability t o defend. Royce no IOr''lger has
the option of wrapping h1s arm around Charles's back to keep Ch~dcs
from a rchmg backward and applying extra pressure on hi!. neck.

t (h;.)tl~ hM Royce in a guillollne

chol(e. Hote thtlt R()y(e'~ ught .;um
i) tro~pP4ld <n Ytelt

• ) Grnb Mi rlgltt
lllfli,....- wrl$1 wfth youl'
lttlt ;,,,,.d, for(O yow·
rlgl11 brm down ,,ml
'""'9 your welgt•t on
ltfm. Rovc:o u ~os hi!. l cfl
hnnd 10 gmb Ch.:t• 'O~.'~o
light wll:;;t. Notice Ihat
llllN he !)tllbS Ch m !~!.'j.
w1n t, Royce pull<> 11
dowr' by bringing his
own eiLX•w 10 hh bod~·
to take awa~· lilt>
dlOkin!) IJ rts~u n:.'
AdditiDMII'f, R()•;· •
I)Uj.h<.~ his righ- '
down, hA•, oinu lu~

weight on Ch<~tl t>n

(1), ~1\rm, (nnriE.'i h as 10
compr ns.'IIC by bendi ng
hii k nees.

- 206 -
 ., Wt~p yovr hind 1tround his right knee wJttt yo(~r
~ nghl h1nd Shoof your rlgilr IC"g lorwrrrd nnd sll
b.Jci kau~ (h1•riM hit\ tu bl'"nd hi\ kne~s to maintain
'"' b.tt.ncif'. 11 b(o(am~ easy tor 1\0yte t o rt>oth wtth h ~
rsghl .lftn .tnd 91.t> tM ~l of Choti<"S'S right klu"t·.
R<r,, .. ''""' \11CK1I\ h•\ rig'''
tt'C) Uvough and \lh bfck.
~h k>1lll hoidng Chlrtfl\ Wfn;t 1nd k~

/1 Throw ttfnt fotce lint on fh•

1-f' ground rh f! momtomum
will c4ma Ch arl<~s lo be thrown
fM-tl lh\t on t he qrour\d ,

-207 -
 Gu i I loti ne
. .
_,~ '"-·• .,..,
,• Hr."· L-"1
( ...l J ' _.,'*
~·
corm tropped - control detenseJ

Th•~ ·~
the samt situation .lS in postttOO 94, bll1 this defense p iO't'ides
yov w•lh Qn opt10n for when you don't w~nt to hurt your opponent.
but ra·ther jU'Sl <Onllol hun- for ~ample. in the event of i)O argument
wi th o11 drunken friend or relative.

n Gno It& wrin """'

~ dot~tn.
~,. ,.,. MAd Utd,.,
l'ivot oH yottr (HI .nd 1Mot )'OUt'
right »rm dolMt •rwt out.sift hit n,M 1<f9 Chaf es
•mme-dla1e 'I vs.es hi$ left hand on Royce·~ fi!JM wust
,,nd IHI Is ll down !O felease ~h~ <hOk!ng preuure.
CMrlc'i lhon orop!> down and rwi~t, hk bod.,. to the
left, pivoting <J ff his fc~t• •md lhoots tM nght .lmt
t iHOUtJh to Royce's right 'Ide.

- 208 -
 ..,St~ ftuw•rd willi your right leg, go
~around his right l~g, and shoot your
ht~d b3ck ro llulf l1h rpJp. Chari!'$ steps
around Roytt'S righ1 sld0 v.·ilh h is right leg
and straight en~ h·~b.)<.k., ~l--oot ny hi~
t'l(",)cf VI) .)\ lw CfOM pont ~oyce. Tl•ls
powHfY mo\of' ""-t twt:ak RO)'tC'\ g•ip
Slll'ltc c.-..an ~ ~'19 tt'lt 1KM"tr ot .,.,
~f'lfltt bod,· .tq.;ti!MI RO)'(C''11rrn. Note that
Charles m.atn-:.aiM control~ Royc.l'\ arm

4 5t•p Dround with yoor lltlr 1f11 .md push hh

rlght hMd ro tuf ri!Jflr ~"lor~ shoulder IO<t.
PN 1t•ng off hi~ nghr foot, (harle<t steps around with
tt ~ and po\IIIOm hl~ll ~UllfC'I)' bt:htnd
Aor , ... C.fl now contro tN! 11r~n1 of patn ht-
:wn ~"'9 on 1\cwl" ftr l'!t P"""'hn Royte's arm
dorKbon of hl1 rtcj"t e.tr '"''\"\' ""'9 t11e l"''t.>&ditf

- 209 -
 Choke from behind while
sitting down

Not all aggressions begin wtth worm and two combatants facing off.
Ohto the aggreuor wtll use tht element of surpr~ to hts. advantage
and try to <atch you m .a vutMt~bt. posr1ion. such as sitting on a park
bench.. If the anaclcer tOes to pull you up •t the \.lime 1ime that he is
<hoking ~·ou, ~ posatton CJ7 for • drfft"rent de-h~1\Se.

~f you' ,.ft ~nd on hks fOt"N,.,., .nd

2
..n
)'Our tight on Ills I:Jiap1... Chadet ~hi$
hind to pull down Of' RO'Jte's to·ea.rm,
rfl evfng the Pf"~'f'Of the cho~e: . At tJ-te wme
t••~ .,ecy.Roy<.e'1 biceps'ovnh h.!Snght hand

- 210 -
 .., Sr~p b3(..!; p~~st his foor with yOtlr right foot :md
~stand up. Charleo~ blocks Ro;•ce's right leg by
planting h~ nght foot JUSt past Ro~x:c's 1ight foot. Notkc
that (haries ,~ uf.•ng the ball o f lh~ fight foot on t he
qround so he can pi\'ot more easily.

/1. ~tround
Kick with your lefc 1~.
'-f Pivo~lr'9 off lu) ri-ght foot. (h;u1ts
klc;ks. h ) left lt<J Moundl endln9 ~•P w.th
h •~ body in. a uralg'ht htle w1U1 ROyce·~

forwt~rd to throw him. Cha•tcs

S Bttnd
bends forward. 1hrow1ng Royce down.
Roy<<- has no option but to fa ll smce hi1o 1ight
l eg~ blo(l!.ed by Cha•le-s's It!).

- 211 -
 Choke from behind while
sitting down (anacker pulls you up)

Position 96 presented .l dtftn~ to M•ng thoked from behind while

SltUng da.·.n,. but somet mes • strong •tt•<t et will actualty lift you up
while chol(lng you. mcre.nmg tl'te rnl<. ol su-a ngulation and requiring a
new defense

Royto ~~~• up on Chat iM and begins lo choke

/ h m. ~X~I•I'\ofJ Ch.tllt1 upward OJS he doo so.

2 l'trt both ftitnch ott hfS right .Jrm. Follo"' th.

dir..d/Ctt ol ftMt dtote ~rtd get up. l'tJt )'OUt
rk)hf fool on rn. ch<m You• f•n:t thought .....,en beng
(hot:oo $1t0uld ~~~_.., be to drenct )'01.1~" neck. Char ~to~
Us.t"l both N~ hAmk on RO)'(.e\ dlo1c:ing a rm to re.._ease
\he pr~1lii'O. 0\.ttfM lrltn folo-."OJS Rcyc:~·, pt.;.ling
mohOfl dno' pl""u hi1 rg-ht foot on me cta.r (ot
bench, or w t'iUt"'lf't ~·ou \"'«!fe 11tting on).

-112 -
 . . , Pivot on your rlghf foot and kick around
~ with
your If'It !tog. Us ng lh(: right fool n:.
a pivmmg pomt., Charles kic.la his le tt leg to helt>
hi~lf comt t\IOI.Jncf. t-Jotlcc tht1l Chl'lrlcs h still
cont•ol o t lto}·r~·s right arm.
1n compl<! l ~

/f When your rl9hf foot fll.u cht

'f gromtd, throw him down by
twltdng yoor body. A.1 :~oon a~ Ch.)tle-s
r\ in a straight line with ROj'C<.', hi~ right
foat li on the grOur\d, ChtdM throw~
Royn down by twhtlflq hl1 torso
tm't•rd the left while pu1l1ng Royce~1
r.q.111 arm actCX$ hi$ bod•;

- 213 -
 Accosted from behind whil e sitting

You are sitting in~ park on the grass. o r at a beach, and suddenly \1
thi('f Slle.aks up behind you and tries to 9rab something and run.

t At Ch1l•tes Is sitting In t.hc pn.l:,

ltO}'lC ~IH:,Jk~ Ul) rrom lx.•h!tlll.

2 Ch{lllcs Is startled bv FtO)'<e't

haod on tus 'lhou!der,

- 214 -
 /1 Posh bMk wtth borh fHr •nd
J,f' u.so your bDck to throw hfm
down. Pu~hln g off both fetr, (hlltlti
drive" his bod•t t:wck whll~ \till
ha!dlng on to noy<e's heeli, knOCktiWJ
him onto the ground.

- 215 -
 Sidle head lock (h ip throw)

In this: situation~ Charle-s applies a h(>:.di<Xk to Royce. but, unlike po ~i ­

lions 10 and 3<1, this time Royce reacts quickI~· e nough that h<' is oblc
to m aintain proper p<XIUIC "'•th his head up and hip$ ior\':ard,
keeping Charles from bending him down.

~·uJI()C/(.
t WhM you feel tiNt drop in b<Jse, bend
yovr knees. head up, hips forward. Grab 11/r r~gM
hip wrrh your f19hr hand OJnd his wri.st with your left
hand. Chat1e$ applies a headiQQc frQm the )-!de. Royce.•
:t4.!f1$.0the irt1atk and drop) in base to avoid being
tnken do\•m At \he Sl1111C' time-, RO)'(t' (Ontroh Chorlm's
body by hold•ng Charles:'~ right hlp with hi!: 11ght ~~~,nll
o~l'ld l)fot«h hi~r'IL'tk by hol ding Charles\ wfisl whh hi!.

Jefllwod lhls 1u e~n1> the chol:c fu:>1n l!eiug d nc.hcd.

9 Step around the ff'OIIc wl(h ro~, right

...__ /(!g. 1-li lving secured control of Chatlf!'\ by
holding C:hades's nght wrist w1th hb left hand and
controlling Charles's hip wilh hi" tf.ght hand. Ro,<t
Stt()$ ~lfOu nd in front wit h hi.s right leg.

- 216 -
 . , Squarp your feet inside his fHt,
~ htps OUI. Tu p rOjX'I1y CliCClltC 1'1
N p thrOYt, ROV(e !)laces his hips In fronl
ol Charle1o's hips and square~ hh tee t
in~ide of Ch&rlcs'~ te-et.

/f withtift your kflt~ HNd tow•rd ~

"f' ground, pull hfJ arm ~nd do., hlp
•('fOj.J

throw. noyct- e>~ectne" a hlfll rhrow. uting hh k!gs

to propel Charles upward• .and dipping his own
hei.'IIJ tOw <•rd tho ground w tlile pvll!ng (hat~'<~;
arm a<toss hi~ bQ<l·;.

- 211 -
 Arm push

The arm pu~h extremely common in dubs, whe1e boun((w. often 11)•
I)

to muscle peop~ b.xk 10 the> suee1 that way. '' •s also used by kidnap~
pcrs p1.11h1n<J wmeone into <'I <itr ~gainn his will.

f RO)<t<" '"""'"9 Chtrlel by th• arm.

9r~b ltrt tight

2 Pnlof on your felt foot •nd
•'~"" wfttt yow ,.,, h.otN/_ (.,M~ (IUI(id'i
p vcm on tH t.!fl foot into Royte ilnd gratK lto•;'fe,.
nylu ctbow ,a he cal'it eK.)Pt Ai ht- ~Ot'110. (NttH
•ko pu·p.1rC!'1 to detiver a left elbow to Ror<f''' ftK~

- )IS -
 . , Strike his face 1¥ith your right elbow and
~ 9ntb his sho11lder: ~ Ch~'Jrh,•s. Wik.~!. RO)'CC,
lw;- grabs Ro)"<e's shoulder and posts his forearm
on Rorce•s neck.

/I his right leg with your right ll.'g and patl•

Hoole
"f with your rlghf forNrrn, Imp~ AOy(.("~
0ldi!Clt
nght kg a"d ddvti hk> right fon:·ntm lr110 Hoyr• · 11C·r.k,
forcing him to fall down.

Detail
F1om thh. .sngle you can \t't" th~ <cureo
plM~m of 1he hands and legs 1or the
1a1tedown. Hotke that Charlt"'S uses. his
fOU!Jtm on ROy(e'S thrObt tO dnVf: him ba dt
and do\vn.

- 219 -
 Half nelson

The h.alf nelson It~" extremely effective and widely used (Ontrol hold.
The aggr~sor u~acht.>S around your arm with his arm and grabs ;•our
ne<k wr1h that Jame hand. It mak~ for a very uncomtonable position
as he ~pplkl1 prel)Vre to 1he are.). The dcfen~u ~how n here is very
effecdvt agair\n most opponents. bu1 if the l'trl'n gmb falls, )•Ou C<Jrl
th~n r-ewrt to ~ition 102.

/.• h.,.,
R~ hM Ch.utes tn
nc!l\00.

- no -
 2 Drop in base and trap his rlghr
f!lbr;JIIv. Ch.) rl<..'~ d ;op:; down in
ba\E', he-ad up and hips lo r.v;ud, l:nees
~nt. He t HJps Royc~·~ elbow w ith his right
arm and kee-ps h11o right hnnd '-.fl)!.<.: t (l his
<he~o1..

. , St•p around with your l~ft J~. GrOJb his nght WTist with
~ yout loft hMd. Gr.:tb your own S.ft bkf!PI with your
right hand. Haole his leg wfth ycur right lf9 and pull down on
hfs 4trm lor the submlulon. P1voting off hn tight foot. C11•rk!-s
s-tttps around with hl<o l ~ft leg. U<ou'l9 hK left h3nd to 9 1tp
Royce's right wrist. Charles locks his right hand to his left
blce~. ttooks Royc~·~ right leg 'loVIth his own right k'g. dod

applies a submission hold by pu!ll.ng Roo,ce'<o arm d4>t•m.

applying torque to t he shoulder.

- 221 -
 Ha If nelson <wrist rock escape)

PosititOil 101 is the standard defense against t he half nelson, but

stro ng or skillful opponents v~ill somQ-til'nM be .,ble t-o tesist the arm
grab shown there. In that case a quick w rist lock will work.

! Ro•;ce gets Charlc:'> !n .-. hJU

nelson. tropping Charles's
l'ig hl.1trtL

- 2i2 -
 2 Quickly step i'JrOUfld to finJ
rrght with your left loot and
trap his right elbow IA'ith your right
mm. A1o soon .)S h~ ~en~ t he hold,
0\aries ad ~ qu1ck.l}• and steps a•Nay I rom
the l)tt'SS.utt', tov.·:ud his right. Al l hc
wme time he t raps Royce's right e lbo-.•t
under his nght arm.

_., Srep behind hiJ ltg wlrl't yo~r t~ghtloor. gritb your
~ left bleeps with your righr hand, rhM grab hit
right hMd with yoor felt hnnd •nd puff it down Ch.01k's
blocks Royce's e~cape route by ptant1ng hk nght foot jU'll
behind Roy<~·~ right foot, grabs h11o own t:MceJM. and
ilpplles a wrl'>t IO(k by pvlhng Roy<e's hand do-.'l'f"'.

- 223 -
 Wrestler head-and-arm hold <•ttocke• •••istsl

A p<:~ rtkularly difficult posi'tion in a stre-et tight is the- wrestle r hca d .;md-
arm hold, JS <k!mons-trat~ in position 69. In this. Qtse, Charles contro l5
Royce'5 he~d \':ith his right arm. while at th~ same time using h is left hilnd
to puiU RO)'<<!'~ nght arm. To make matte-rs worse, Charle-s pushes o f f his
feet to add his weight to Royce's <-he-st. Ro;·ce al lempls the b ridge-and-ro ll
es.c:apeo from ~tion 69, but Charles braces with his left leg i.lf1d a rrn.

t G~b your right wrist with your /off iutrtd

omd cinch tho hold 11round Ills chost

n Brfdgc lo rhe right. \fiJhen

~ novce bridge$ b'l puihlng off
hh feet and llh:lng hl.s h ps roward
tho light, Cha1lcs stops the mot1on
by hradno wl ~h hl.s tcft feg i'lnd arm.

- 124 -
 . , Go ro your knees. Grab his rigM
~ WTI$1 w;r;, your fight lllmd, willie
your left l1and controls hfs back. Sensing
C~a rl~'s de1ensc. Royce goes 10 hi ~
~ne-e~ b;· plvotln!) on hi~ lt.:lt fool &nd
llull ntJ hh d!)hl leg under and lluou!Jh
1he ~rJace ttca~cd by 1hc bridgiug
<JC~.ton, It i1 1rnportant for Roy<.c to ma1nt.:un prc:uv•c- o n lu> l('fl loo1 whll~.: he pu I\ hh
t19ht lt.'9 vncler, ot~1w'~ <NuJe\ Yrill luu19 him ba<k 10 Ihe \1,1!1ing positiM . Hn't'CC
<O!'I!rol~ (hMI~'s w''"
Wtth hn. t1ght hand .lnd Ch~lie~o·~ oatk whh hi ~> loll. Tl·c I)IC$:.lii C
o f Ro;·cc:'$ l~ft ,hOutdet on (ht•l~·,. ••ghl '"ovlder. J lonc1 with Chm h.:'''- .:um hdnu
t•Nhh:d, W•ll ,,1k)o,v Roy<~ tO ('J\fty I)U\1 hi' l'w::3d OUI

/1 Poll your ht<ld our nnd push hit

J.;f wri.H ro hfJ t'otr. lh1\ .lct•on <r~..te1
pre1sure on (i'111Ji f~·~ right should~r lor a
shoulder·lo<k subm1ss 0111

- 22S -
Royce Gracie did not step into the Octagon to show 1hat his t'amily's.
tt'chni<lu~ wotk for him. Royce and 1he rest of his famll~· have been
competing to show that their 1e<.hniquM work for e-veryone. 1'he-
minion is to enlpower people. As Ro)·c~ pvts it, "I step into t he ring l()
prove to everyone, not jus1 o1her martial artists, th,:,t our style works. I
want everyone to knov" that my ta1nily's techniqvcs w ill make them
safer. That ha~ been the Gracie mission for over se venl~· · five ~·~Mrs and
that is my reason for figh1ingl"'
AIJvvv: lloyc• with Mark CQiflm<~" tl•h) (lt~<.l ltj(lol'
Vovdtnnchl n,

tU(Ihl; ltOV<"I" 1~
U•• llyhc
lo<lo.•t room. <on<•nu.ull'l9 ftiOf to ..

- 218 -
 Abcw~ T1ltl Gmdu Tr&ln UOM to Ji!lt)I.U.. <i~tuldmto~tt:f
u~Uo lr.tdlfloW U~ot w~y. followCid by Rorion Md Royr.11.

Lclt: Royu ottts!de lht Tckyo l)l'll'!lt~, h~'lld ln!) tor b11Hic,

hlow: G' • ndmllslt r Hollo In 1hc lockcw 1001'1\. whh :.onJ:

Royt•. Ko!ICI"', """ Ko•lon,

- 229 -
K•l' loh :: floyct t hoots In on p:~ncr;~s. champion k en Sl\im1od. &n the ~lini\J. le>p •ight; fiOYl• llnl•hlng Shntnm<ll,
oo uom 1(111: ShM• mdc ~~~bmlts to Royte. Bottom tlgtn: lltoyce iPNkS to tho! rfl~ee to <onllm'l d!41 ~ uhmiuiol'l i!rgilins-t Shamm<k,
((tnt(lr: Aglllt!U Arl J i•r~menon in tiM! o~lng INtd\. Royce uut\ A low ~ 10 set vp the- le(tl•l clinch,

- 230 -
Abow: Roy<~ appi )'III1J U14! l lrutl <hok" II~IMt EufQPe-'1'1
klck·bo;clng ch:.mplon G<1mrd Gord~au In th4 firMI m.1td~

Ri ght: Rlck...,oll lih~ Roy<o to celebr~te t:1110 win;!~

Ao)'l<lr 1111d R<ll ~on.

O<lluw: 'nt th tl wlrll'l:t gu thct 3f,IOII'1. /\ltur \hoclln9 thu

WOrld w ith his C.<hnkju•. Royce, 1urrou1'1dtd by hk f.l.mity,
tJct1:1 tho wlnntrl'\ cht<k tt-oh to right: llolio. ltkh on.Jtoyc:•.
Aubur~, tJiflrl onm:. Aoyl br, O'lnd Ro1l0t1).

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Top lith~ lM f.tmcMK IIOO,U state. USt:enliniJ to ~1 ·llllfl.ne iM1NmOM ,,.,. Rfdson. T~ right: A9.tl~~ £~o~ro~n li~jtsu (hOI~
R(IM(O P."'fdtof ol1hct ~ Again m.tow \10 &WK-*' the dinch. loC1Din ltft- W!tnQ cJowft Upanew hghtH Miltoti
khllt.w.a. Doncn ntflt. n.e familiat ~loy..• - • w .,....., dt«k s...~ by ~.tnd frimck.

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LfFCIV
Top left: Opening mat<h wh1 over Roy Van <lief. Top right: fiMI m.lltch ag.timt Wre,llet DAn •Jhe flf!!Ht" St-v~rn. flo ttom tell: r111hcr
Hello congratulates his wa11lor son Royce llottom nght• W.l'l~ Ched: ontE- ~am,

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Top l~fl: Olllr11!1'1 bal.u'(ing on top of his O~L Top 1il}h1: Chllot le~ In tontrot BD1ton1: Ch~• les 5otS
up thi! flrMI chok:~.

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 "'S:Jl•i:J. &u::il
lOp ~.eft Ol1tin \lt'l "tl~ AUutHIO Sll'l'l, With him &1 ~ Uhdt:
Acy~o0n {"'fO ilnd f lttlofr Robson.

l•h: II\ hJII tontrol of t lln fl9ht, Chi'IIIQ' d<-1111Clr5 1h~ !Hml~l._
I'Atfll to Slhle,

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Tap It! II: Royce with D;anny Glover .llld R()rion. ~right:~ W111\ John SallOI\. Bouo.n: Royce
IE'<!Chlrl(j Ed O'Neill from the TV show M./Jrried ,..,.;u, 0Wdi1Vt.

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WWW.ROYCEGRACIE.TV

ko~c whh • SIN'CNI f~O\' nudet.nt..

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