ajat asal iban

ADAT NGULIT

Belabuh ari Serapuh diajar ulih antu puntang raga, laban sida ti berunggu mayuh amat mati. Diajar meri baya chukup-chukup, diajar ngulit ke ditampung kitai diatu.

1. serara bungai – enggau manang nitih ke timpuh aum rumah

2. ngetas ulit – semua ke ngulit ditetak buk

3. ngambi entebalu – kaban ari sepiak ngambi entebalu, dua kali ganda adat pemati(chunto:ti bini mati,kaban sepiak ari kaban bini ngambi entebalu,ukai kaban laki), buk diguntin,diminyak lalu disugu,enti laki beragum lalu dikendis,kukut dipapal,lalu tau ngemujang tauka ngenara ke diri

4. entebalu tau diambi lepas 6 bulan

5. tebalu mansau tau diambi lebuh maya Gawai Rugan(Gawai Antu)

6. Orang ngacau balu maya agi ngulit dikumbai butang antu belaki tauka bebini dikumbai berangkat antu

7. bebini tauka belaki maya agi tungkun api dikumbai berangkat tulang

8. Guang seduai Sendi butang antu diukum sepikul(RM100)

ADAT ULIT

1. Penyauh enggau pemati kawasan ulit nitih ke setuju bala mayuh

2. adat ka dibai urang ka mati nitih ka tipak pengawa ti dikereja iya lebuh agi idup

3. enti urang bisi ngabang nitih kandang ulit,sida enda tau enda nganjung adat,sigi panding,benda basa RM2

4. enti ulit udah buya adat sigi jabir

5. enti bala ka semakai gawai bisi begawai ngambi ngabang sida mai adat benda,sigi panding RM2,sigi jabir ngagai urang ke empu pemati lalu sigi jabir kena ngangkat ka rumah ngabang

ADAT NGEMAS PEMATI

1. Sebedau iya ke mati disimpan dalam sentubung sebayan mesti diberi makai

2. sentubung mesti ditumbak penalam 6 kaki

3. lebuh malam balu jenila enggau pintu mesti ditambit rapit

4. tungkun api sama enggau pemakai sebayan, tiga lemai nya

5. tiga lemai nya meh indai tuai dipilih makai pulut chelum

6. pulai nganjung antu,ulit lalu ditanggam,pengelama nitih ke kaban belayan ke empu pemati

ADAT JAMBAN

Urang keterubah ngaga adat jamban tu nga Antu Gerasi Belang Pinggang lebuh iya jadi enggau Gupi,anak umbung Bada seduai Riduh. Kitai Iban ke dulu minta adat jamban ianya Raja Berani ke benama Awan lebuh iya jadi melaki bini nguai ke Lada anak Uyut Bedilang Besi. Nya ke ditunda kitai kemaya ari tu

ADAT BESAPAT(JADI MALI)

1. Babi dua iku.siku enggi lelaki,siko enggi indu,bunuh ba ai lalu darah kena mandi

2. pedang panjang kena ngerandang remang rarat

3. beliong lajong kena mungga urat lensat

4. sumpit tapang kena ngerejang lubang kilat

5. kumbu rayung kena nyerayong tekuyung dalam ungkap

6. kain berang kena miau mua ari sarat bebuat

7. pinggai besai kena nyekat tanah rarat

8. besi panti landi ke alai kaki betakat

9. rangki siti kena nasih ai ngambi ke enda beriap

10. tempayan endur nyimpan semengat

Orang keterubah ngena adat tu ianya Abang seduai Tali Bunga. Seduai tu baru sekali petunggal udah kena tinggang ukum 10 igi jabir.Mukol seduai Ibu ya Berenyan besapat maya tu kelia. Nitih ke adat Sengalang Burong,rumah iya rusak laban kudi laban pengawa endang mali.

ADAT DAPUR RUMAH PANJAI

Dapur chelap – genselan manuk siko

Sangkar sigi panding RM2.00(kebuk sigi)

ADAT GENSELAN MENUA

Ti mati di tanah tauka menua urang:-

1. babi siko ke udah tumbuh taring

2. pinggai sesingkap

3. sangkar sigi alas (RM4.00)

4. besi sebujur ke kering semengat

ADAT MELAH PINANG

Aji ke berani ati ngilah bulan, anak Sengalang Burong Aki Jugu Menaul Tuntung.

Endu Lilih Sintung Benih Pulut Balingian anak raja Sempulang Gana keterubah diatur ngena adat melah pinang bepun ari Sengalang Burong

ADAT MIRING

Bepun ari raja Semarugah ke milih menantu ke laki anak dara iya ke benama Endu Endun Serentum Tanah Tumbuh, entara Semupulang Gana seduai Bujang Inin.Urang ke nyadi menantu ya ianya Sempulang Gana

KETERUBAH NEMU MENGAP

Kitai nemu mengap bepun ari anak Numpi ke benama Lau Mua beranak ka geringu,Sumbang,Suduk enggau Malang diajar oleh Antu Sampang Gading.Sida empat diri menyadi tu ti keterubah belajar mengap.

ADAT BALANG TINCHIN(BULA KE SEMAIA)

BUP Adat Iban 1993-bagi 4 lumar 140 limpir 45

Adat pemalu 50 mungkul- RM50

BESUA TINCHIN(becherai manis)

Enti seduai melaki bini sama deka sarak nadai enggau laya,nadai kebuah tauka ketegal mimpi tauka burung,ukai ketegal butang betumbang. Seduai deka beterang ba Penghulu tauka ba 2 iku tuai rumah. Siku ari indu,siku ari lelaki.

Adat Becherai Manis- seduai sama nyua ke tinchin tauka ssagin entara sigi alas-RM4. enti adat apin disua seduai apin tau bebas bujang dara. Enti bisi beleman enggau urang bukai seduai tau dititi adat butang- Adaat A1 1993 bagi 4 lumur 5(1) limpir 49

Butang tinchin

Penyalah dikira dalam kandang timpuh adat betunang. Enti indu tauka lelaki bisi beleman enggau urang bukai(having sexual relationship) benung timpuh kandang betunang. Diukaum sepikul RM100, pemalu RM50- Adat A1 1993 lumar 170 limpir 118 bup adapt iban(dal)

Berangkat Tinchin

Enti lelaki tauka indu benung diau dalam kandang betunangtang enda mukai mukai tak jadi enggau orang bukai. Diukaum sepikul RM100 pemalu RM50.-Adat A1 1993 lumur 174 limpir 55(DAL)

PEMATI KITAI IBAN

PEMATI KITAI IBAN

1. serta ngapus ke seput. Orang ka mati alu ditanggam mulut enggau mata.kaki ditaur enggau benang mansau

2. beri mandi

3. digari enggau utai manah lalu di baiya enggau keresa kena sebayan idup.

4. sapat enggau pua kumbu,enti udah kemas digari baru ditanggung keruai,diengkah dalam sapat.

5. alu enggau lesung dipelintang ka ba pala tangga,kena nagang bala sebayan niki ka dalam rumah.

6. lebuh bangkai ditanggung pansut ke ruai lalu ditabur enggau leka padi,enggai ke pemakai rua

7. kejang pulai ari pendam udah kemas numbak ka iya ke mati, siku ari sida ke tuai ngaga pengait kena ngait semengat pulai

8. siku ari sida sebilik ngaga serepak lalu ditanam tunsang ba tisau jalai pulai. Enggai ke semengai iya ke mati nitih pulai ke rumah.

TUSUN TUNGGU KITAI IBAN

TUSUN TUNGGU KITAI IBAN

1. Sejampar – 5 sen

2. seliar – 7 sen

3. setali – 9 sen

4. se uta – 10 sen

5. sigi menukul – 30 sen

6. sigi jabir – 50 sen (diatu seringgit)

7. sigi mungkol – seringgit

8. sigi panding – 2 ringgit

9. tiga mungkol – 3 ringgit

10. sigi alas – 4 ringgit

11. alas ngerang – 5 ringgit

12. rusa indu – 8 ringgit

13. rusa lelaki – 10 ringgit

14. sigi menaga – 16 ringgit

15. sepikul – seratus ringgit

ADAT MELAKI BEBINI KELIA LEBUH AGI BEMUSOH

Keterubah kitai iban nemu Iban nemu adat bederian belabuh ari Tindin ke bejuluk Kepimpin Beragah Mindang bejadi anak iya ke banama Rinda jadi enggau anak Beketan Entinggi ke bejuluk Keti Aur Tulang ke benama Demong disebut Derian palit mata laban kitai agi bemunsuh enggau bansa beketan.

-ADAT KE DIPINTA-

1.Entinggi minta pala setibang enggau selebuan ketawak

tuju minta pala-palit mata*nyabak ke urang mati

Ketawak-penuduk ngambi ke tan duduk berandau enggau sida serumah

2. Tindin minta bedil sebatang,sumpit sebatang enggau tangui serawong

Minta bedil ke jamban kena meraka sungai ke menua sida Entingi

Sumpit ke penyandih ngambi ke tan duduk berandau enggau sida serumah maya nemuai

Tangui serawong ke tudung kena ngelaban ujan di rantu jalai

3.Renggi jadi enggau Pala anak Uyut ke beensumbar Bedilang Besi tuai ari Anyut Paku ngena derian kelimbak selambu pemuka pintu

-minta tajau tutup gong

4.Galau anak Mawar Biak seduai Lena.Chandu anak Bau seduai Selangka.Chandu seduai Galau jadi ngena Derian Tanam

-Bau minta pala baru selanji

-manuk seratus

-tugal sebatang

-tawak selebuan sanda kaki

BENDA TUKAR NGAGAI MATA WANG

1. selebuan tawak (penuduk) sigi alas – 4 ringgit

2. bedil sebatang(penyandih) sigi panding – 2 ringgit

3. tanggui serawong (tundung) sigi jabir – 1 ringgit

4. sengkayau gari (enda tau nyembui gari begulai sengkayau enggau entua) sigi panding – 2 ringgit

5. bungai pinang (sigi alas) – 4 ringgit

6. siar uras (sigi jabir sepintu) – 1 ringgit

7. adat jamban(sigi alas) – 4 ringgit(dipinta urang ke nguai)

rengka piring

RENGKA PIRING

1. Dara Santih - Sireh

2. Dara chelum - Sedi

3. Dara Sandu - Ruku

4. Kumang Dara Simbut – Letup

5. Kumang Dara Bagau – Semakau

6. Kumang Dara Ganggam – Penganan

7. Endu Temuku Tali Telabu – Telu

menua petara

SAMPI

Kebuah kitai Iban nyampi nesa sampai tujuh nya laban bisi tujuh iku petara ti endang dikarap ianya sida diri menyadi.

1. Sengalang Burong

2. Raja manang Menjaya

3. Raja Biku Bunsu Petara

4. Raja Sempetuh seduai Sempandai

5. Anda Mara(Gangga Ganggai)

6. Ini Andan

7. Rangkang Kirai Raja Sua(sempulang Gana)

SENGALANG BURONG

Aki Lang Sengalang Burong

Aki Jugu Menaul Tuntong

Berumah di Tuchong Bukit Sanjung

Besinjang tatai redai isang

Nya orang ke beempu; tanah laman seram entam belayan madang sabang

BIKU BUNSU PETARA

Tuan biku imiam bunsu raja

Petara, pantan inan Raja Jedia

Menua di punggang batu berua kena pansa beras kuning

Nait ke bukit Lubana Sawa ti ketawa rising-rising

INI ANDAN

Ini Inda rabng menua

Ini ini rabong hari

Di penyawan pintu bulan ke meruan tampak terang,

Di penyuang tangga bintang baka bulang teku taji

SEMPULANG GANA

Di munggu lunsur ujan begulai

Enggau perugan pumpun temiang

Tinting pemaring bulan memelan baka tegalan lama lang

MENUA ANDA MARA ENGGAU GANGGA GANGGAI(sama menua)

Di sungai kapar bendai

Berangangai minta gantong

Di lebak kapar tawak betekiak minta pangkong

Di rantau kapar tajau ke beterangau minta tanggong

*suah urang nyebut dalam leka main bukai gangga ganggai seduai Anda Mara madah kediri urang ke pemadu kaya dalam dunya berumah di nanga lubang wang

SEMPANDAI

Di wong ke beranggong tinggi

Dinggai-dinggai di legit bukit giai-giai

Berumah di tatai balai nyabong di tengkujoh panchor wong

gawai dayak

Gawai Dayak

Dalam taun 1962, kena ka 17/9/1962 siku ari indu kitai Iban ti chakah bendar ngering ke bansa kitai iban ka benama Datuk Tra Zender mai peminta ngagai aum Kunsil Negeri di Kuching. Iya ti udah minta ke kitai Dayak ti dikumbai Hari Gawai Dayak.

Lebuh mayatu Tan Sri Datuk Stephen Kalong Ningkan nyadi Kepala Menteri Negeri Sarawak.

Tang peminta tu semina dikemendar ka dua taun udah nya ianya kena 25/9/1964. Udahnya baru kitai iban bisi cuti umum ke gawai kitai baka bansa bukai.China bisi Tahun Baru Cina,Melayu bisi Hari Raya Puasa enggau Hari Raya Haji lalu Tambi bisi hari Deepavali.

Tuju ari gawai tu nya kena kitai ngelai enggau nanda sereta basa bansa kitai Iban. Kitai ngintu sereta ngerami Hari Gawai kitai. Nya ke tanda kitai bebasa ka bansa kitai sereta ngemesai ka bansa kitai empu. Enti kitai bisi hari besai,lalu bisi cuti umum, bansa kitai dikelala bansa bukai sereta bebasa ke bansa kitai Dayak

Gaya kitai ngerami sereta ngemesai ka Hari Gawai tu nitih ka atur ka manah ko diri serumah baka main asal kitai empu baka ngajat, bepantun, begendang ,nyumpit, betanda,belagu enggau main bukai.

Ko jaku sida ke tuai :-

Daun dikelala ari kayu

Buah dikelala ari langgu

Basa dikelala ari penyiru

Bansa dikelala ari jaku

Tindok bepanggal pengingat

Bejalai betungkat adat

Happiness

Happiness is a state of mind or feeling characterized by contentment, love, satisfaction, pleasure, or joy.A variety of biological, psychological, religious, andphilosophical approaches have striven to define happiness and identify its sources.

. Positive psychology researchers use theoretical models that include describing happiness as consisting of positive emotions and positive activities, or that describe three kinds of happiness: pleasure, engagement, and meaning.

Research has identified a number of attributes that correlate with happiness: relationships and social interaction, extraversion, marital status, employment, health, democratic freedom, optimism, endorphins released through physical exercise and eating chocolate, religious involvement, income and proximity to other happy people.

Philosophers and religious thinkers often define happiness in terms of living a good life, or flourishing, rather than simply as an emotion.

Happiness economics suggests that measures of public happiness should be used to supplement more traditional economic measures when evaluating the success of public policy.

positive thinking

Positive thinking is a practice and it requires that you have a certain mental attitude. When you have a positive thinking mindset you automatically have positive thoughts and you continually recite positive affirmations. This process happens automatically.

When you have a positive thinking mindset you almost instantly find answers to even the most complex problems and challenges. Positive thinking is a mindset or attitude that is geared towards automatically expecting things to work out. A person with a Positive Thinking pattern in place expects, believes and trusts that things will always work out and they often do.

This is not to be confused with someone who simply says: “Think positive and everything will workout.” Such a person is does not have the proper positive thinking mindset in place. They are simply turning to positive thinking when things go wrong – and by then it’s too late, the damage has been done.

Someone who has a positive thinking mindset naturally thinks positive and always foresees happiness, good health, success, and a positive outcome to just about every situation and event that takes place. They also trust and know that they will make the right decision and the right choices.

malam mini festival filem...MFF

malam mini festival filem...MFF

malaysian cinema

Bincang dengan teliti impak daripada kelahiran ramai pengarah filem muda terhadap industri perfileman di Malaysia.

Kehadiran ramai pengarah muda telah menimbulkan impak yang besar dalam industri perfileman Malaysia.Ia seolah-olah sebuah revolusi yang berkembang pesat dengan idea-idea kreatif yang ditimbulkan pengarah-pengarah muda.Banyak filem yang dihasilkan mendapat tempat dihati penonton. Industri perfileman tempatan juga telah mencatat beberapa kejayaan dengan kemenangan anugerah di festival filem peringkat antarabangsa.

Sebagai contoh, filem MUKHSIN telah memenangi anugerah Crystal Bear (Special Mention) Best Feature Film danbanyak lagi. Filem-filem daripada karyawan muda tempatan seperti FLOWER IN THE POCKET, LOVE CONQUERS ALL , AS I LAY DYING, CHALANGGAI juga telah mengharumkan nama negara di festival antarabangsa seperti Rotterdam International Film Festival (2007 & 2008), Pusan International Film Festival (2007)dan 4th Independent Film Festival of Portugal (2007).Ini jelas memberi impak yang besar kepada industri perfilem Malaysia.

Kehadiran pengarah-pengarah filem muda juga telah menampakkan pembaharuan yang amat nyata dalam industri filem. Pengarah berani menimbulkan sesuatu yang baru dan boleh dianggap segar di Malaysia. Contohnya filem Evolusi KL Drift 1 dan 2,filem seperti ini boleh dianggap satu kejayaan pengarah filem muda kerana sifat berani pengarah muda mengambil risiko sama ada filem seperti ini mendapat tempat dihati penonton ataupun tidak kerana kita sedia maklum filem ini agak bertentangan dengan budaya ketimuran.Apa yang istimewanya adalah pengarah muda telah menimbulkan dan memberitahu penonton agar tidak terkongkong dalam minda yang sempit kerana di Malaysia,gejala yang tidak sihat amat berleluasa.Ini yang cuba ditimbulkan oleh pengarah agar kita sama-sama dapat membendungnya daripada menjadi semakin teruk.

Mungkin Yasmin boleh dianggap sebagai 'gila' kerana begitu berani mempertaruhkan muka baru dalam filem-filem arahannya untuk menerajui, tetapi aruah Yasmin, dia sentiasa berfikiran positif serta optimis dengan segala tindakannya. Talentime yang disifatkan sebagai sebuah karya yang cukup membanggakan mereka sebagai anak Malaysia. Alasannya cukup mudah. dilahirkan di bumi bertuah Malaysia yang sememangnya dikenali sebagai sebuah negara yang mempunyai masyarakat majmuk.

Tong Hua Full English Version By ORph44 ( Guang Liang )

Pengarap

hayoo..lama nda nyenguk blog laban ti mayuh tai bukai t ngerindang.Saritu bisi ga 2 exam..baru pulai meh tu..pecaya nda tiap2 iku mensia bisi pengarap dalam ati tauka diri sida empu?Aku arap a...

Tiap iku kitai bisi pragam sereta runding ke diri empu.Lebuh ku duduk kediri tauka nadai pegawa,selalu aku berunding ke diri empu.Manah ke ulah aku?Aku tu mereti ke ajar tauka enda ngasi?Nama penyadi aku 10 taun ke ila?Suah meh nya nadai saut..Tang dalam runding din,sapa kitai ke enggai utai ke manah dalam pengidup kitai..ka meh ke semua penyamai,enggai meh ke utai ti jai,tau ngasuh ati tusah,pendiau rusak..amat nda?

Ba penemu aku meh,manah enti kitai bisi pengirau ke diri empu.Nama kebuah kini?Kebuah nya laban nti kitai bisi pengirau ke diri empu nya tau nagang kitai ari semina ngerunding utai ke bisi ba mua mata kitai aja.Ti kitai nembiak sekula nya tau nagang kitai ari ngelusu,laban takut enda mujur.Tang kala ga nya nasuh aku mpu stress laban ti bisi endar ati deka bepekit enggau bala bakih ke sama belajar.Dalam ati din suah ndar enggai alah.Tang naka ulih kitai meh..anang kelalu enda puas ati laban enti kitai selalu ngembuan ati ti enda puas nya tau ngujung ke kitai dibalut runding kepapas.

Pengarap aku engka enda sama enggau pengarap kita tang enda salah ti sama.Pengarap aku ke diri empu nya dalam runding aku,nama-nama pengawa kereja aku nya meh kena ku nyukat usaha aku empu.ti sema pemutus utai kereja aku manah tauka enda,arinya meh aku ngubah tauka majak ngembuan nya..saritu,pegila enggau ke jemah ila pengarap aku ke diri empu enda lenyau,enda luntur,enda kurang tang majak mansang.3 taun tu aku besampi ke diri mujur dalam pelajar,dalam ati ku bisi endar pengingin ati deka nampung pelajar ke lebih tinggi ari ke diatu...

Bah,ila meh ku nampung baru...lelak ku saritu..arap k aku enggau kita sama mujur dalam semua pengawa ti dikereja..Petara ngau kitai semua.._tiada yang mustahil bagi orang yang percaya

how to do the script analysis by teresa billy

1.	Edit the script ruthlessly, trimming dead weight from the description and from the dialogue.
	The script is slightly overwritten, a common fault of new writers. While the old theatre axiom (“If it ain’t on the page, it ain’t on the stage.”) holds true, not everything needs to be spelled out in so much detail. Quite often, less is more. Actors, directors and production designers like to have latitude in their choices. A description of the intended mood created by a particular setting is preferable to a list of the furnishings. Some writers (Shane Black, for instance) have gained a reputation for painstakingly detailed action sequences, done up in a flashy, wink-wink, nudge-nudge sense of fun. More often, though, such descriptions tend to get in the way. It’s not necessary, for instance, to detail each character’s every move during a fight sequence. Usually it’s more effective to convey a general impression of each character’s style, along with one or two clever moves, and then leave it up to the choreographer.
2.	When writing action or description, write only what can be seen.
	There are many descriptions in the script of what a character is feeling or remembering or thinking. In the movies, unlike in a novel, we are limited to the physical senses of sight and sound. Refrain from describing what cannot be seen or heard. If it’s important for us to know a character’s thoughts or feelings, they must be conveyed in actions and/or through dialogue. It’s important, however, to avoid having a character state his thoughts or feelings. Which bring us to our next point.
3.	Trim the dialogue and allow some hints of subtext.
	Much of the dialogue in this script is what development executives term “on the nose.” In other words, the characters state what’s on their minds or in their hearts. Few persons, whether they be real or fictional, are ever so open. We often disguise our true feelings or state the opposite of what we actually think. What we say depends on our motivations and the individuals we’re trying to influence. An actor can often say more with a raised eyebrow than with an entire speech. The camera reveals an amazing breadth of feelings in a close-up, and the use of montage can create an emotional response. What’s left unsaid is often more important than the lines themselves. When an audience identifies with a movie hero, whatever happens to that hero will resonate, whether the hero mentions it or not. If the hero withholds his true thoughts and feelings, he will develop more charisma in the eyes of the audience. Use dialogue sparingly, and only when actions cannot suffice.
4.	Focus more strongly on your central character’s journey, and tell the story from his point-of-view.
	The number of personae introduced within the first twenty pages is so large, it’s difficult to grasp who is supposed to be the main character. We open with Yasmin and the terrorists in Paris, segue to Kevin and Sarah on an off-duty, crime-fighting incident in New York, shift to a group of Arabs stealing explosives from a construction site, then descend into the subways for a glimpse into the lives of the homeless, one of whom is killed by a “Transit Worker.” This pattern repeats, with Kevin accumulating the most screen time. Trouble is, much of the story is told, not through Kevin’s eyes, but through an omniscient point of view. This weakens the reader’s identification with Kevin. One might argue that jumping back and forth between the terrorists and the cops enhances suspense, but that’s not necessarily the case. Suspense exists when the protagonist has a clearly defined goal, a goal formed by information that something of dire consequence is about to occur. It’s the apparent hopelessness of achieving this goal in relation to a ticking clock that results in suspense. In suspense, the audience usually knows as much as the protagonist does. Only rarely is the audience privy to information withheld from the hero. It is therefore unnecessary, at least in setting up the story, to show the machinations of the villains. In this script, the scenes involving the villains are often gratuitous. All their scheming, along with Yasmin’s efforts to dispatch weaklings within their ranks, does little to advance the plot. Even worse, their dialogue sounds overly arch and cliché-ridden (“Always these American make a fool of us.”), as if the terrorists stepped out of a comic book. The first two acts would be more effective if the story were told more from Kevin’s viewpoint. If we learned about the terrorists at the same time Kevin learned about them, we would identify more strongly with him and be drawn into the story more deeply. In such a scenario, the first two acts would unfold as a mystery, with the story shifting to suspense when Bev is taken captive and the cops close in on the terrorists.
5.	Reserve any flashbacks for the central hero, not for the villains.
	We flash back to Libya, 1986, in an effort to establish Yasmin’s personal motive for becoming a terrorist. In voice-over, she describes to her fellow terrorists how her parents died in an American air raid. Again, this causes the point-of-view to shift toward Yasmin. While it’s certainly important to flesh out the villains and give them an emotional connection with their scheme, the shift of perspective entailed in Yasmin’s flashbacks tends to make her empathetic, a quality that would more appropriately be reserved for the hero or heroes. An exception may be made when a villain or peripheral character relates the flashback to the hero or main character. For example, if Yasmin needs to explain her motives, she might do so in a telephone call or in a video delivered to the authorities. This call or video might come after the terrorists stage a minor incident as proof of their capabilities. Presenting Yasmin’s motivation in this manner would bring the perspective back to our main characters, the police investigators. In revealing the information through the eyes of Kevin, the reader would empathize with him, not with the villain. The video or call could also contain a set of demands, which leads us to our next point.
6.	Clarify and focus the terrorists’ objective to lend the story a stronger sense of direction.
	While everything appears to be leading up to the “Triple Witching Hour,” there is little sense of urgency in the investigation. Instead of pursuing leads, Kevin and Sarah often seem to be just going about their routine daily work. It would help if we had a stronger awareness that there is a "ticking clock." We need to know the potential consequences if the terrorists succeed. Are they planning to take down the entire Stock Exchange building, or merely blow a hole in the foundation? How do they know that just a few well-placed sticks of dynamite will accomplish the task?
7.	Redefine Yasmin’s character to shore up the story’s credibility.
	Among all the credibility gaps, perhaps the most egregious one is Yasmin’s role. First off, it’s difficult to believe that any right-wing, Islamic terrorist group would allow themselves to be led by a woman. This is a culture that subjugates women. No self-respecting Muslim would ever follow a woman’s orders. Secondly, Yasmin’s use of brute strength, as opposed to cleverness and trickery, goes beyond the boundaries of what is believable. She’s able to break the necks of men much bigger than she is, and do so with her bare hands. Physically, though, she’s no Hulk Hogan. It would be more credible if she were skilled in an esoteric, Middle Eastern form of martial arts. Rather than snapping spines with a twist of the wrist, she might instead use her opponent’s size against them. Once they are down, for example, she might use leverage (by stepping on their neck and wrenching an arm?) to disarm, disable or dispatch them.
8.	Invent a less coincidental way for Kevin and Bev to meet, and enhance their chemistry by reducing Kevin’s apologies.
	One of the most appealing and well-executed aspects of this script is the romance between Kevin and Bev. Sparks fly the moment they set eyes on each other. Their teasing banter is cute and sexy. The obstacle to their relationship, though, is the fact that Kevin is a cop. The tragedy in Bev’s backstory causes her to be reluctant to get involved with another officer. This lends texture and a believable arc to the budding love story. The fact that Bev is Polish helps to flesh out her character, although more could be done to play up her heritage. For instance, they might go to a Polish restaurant or visit a Polish neighborhood or meet her Polish parents. It is, however, something of a coincidence for Kevin to run into Bev during the course of his investigation after he meets her in a bar. It might seem more natural if he were to first meet her at her office. However, if Bev knew from the start that Kevin was a cop, she might not even allow herself to flirt with him. Perhaps this stumbling block can be overcome by having them ‘meet cute’ while he’s on his way to her office, unaware she’s the person he’s come to see about obtaining the “Mole People” records. Bev also has a tendency to spoil the mood by comparing Kevin to “Tommy.” It’s admirable that she remembers her dead fiancé so fondly, but it does a disservice to Kevin for him to always be in Tommy’s shadow. All Bev’s sighing about the demise of her ideal man must eventually grate on Kevin’s nerves, and yet he never addresses it. It’s as if he really does feel inadequate on some level. In both Kevin’s personal and professional lives, he constantly has to keep proving himself. Because he is always on the defensive, he looks weak. Which leads us to the next point.
9.	Redefine and strengthen Kevin’s character to fit his role.
	Kevin comes off as too soft, too sensitive for a cop, much less a detective. While sensitivity and pathos can effectively counterpoint the gritty world that our characters inhabit, realism suffers when it’s such an obvious part of Kevin’s character. He doesn’t shield his pride enough. He doesn’t hide his emotions enough. He doesn’t put up enough of a macho front. Not only does Kevin seem unsuited to the profession of a cop, he comes off acting more like a woman. In an interesting role-reversal, it’s his female partner, Sarah, who espouses the more macho attitude. However, Kevin’s responses are so much like those of a rookie that it calls into question whether his superiors would even trust him to investigate such an important case. He’s such a bumbler, one begins to wonder whether the script is meant to be a comedy. Because all the other characters are treated much more seriously, Kevin appears out-of-place. Near the end, when Kevin starts exchanging gunfire with the terrorists in the subway, he seems unaware that Bev is anywhere nearby. If he does know she’s there, he appears unconcerned about it. Kevin seems to be wandering around in a blue funk. For that matter, Bev does an amazing number of things while she’s tied up. And the climax degenerates into absurdity. One solution is to give Kevin more information, and let him be the one to take action.
10.	Diversify and smarten-up the characters of the terrorists, giving each of them a unique trait.
	Aside from Yasmin, the terrorists are somewhat faceless. Physically, intellectually or in terms of their personality, there is nothing distinctive about them. While some of them may be more prone to failure than others (and end up paying the penalty for it), there is little to distinguish one from the other. What’s more, there is surprisingly little dissention within the group. They all follow Yasmin’s orders without question. The terrorists would be more interesting if they were actually a team, each with a unique skill. We might learn who assembled the group and why they chose these particular individuals. The terrorists do not display much cleverness or finesse. For example, Yasmin instructs Omar to kill Kevin and make it look like an accident. But what does Omar do? He tries to choke the cop to death (page 79). It seems unlikely, however, that your average police detective would accidentally choke in the line of duty. For that matter, it’s unclear what the terrorists might achieve by taking Kevin out of the picture. His investigation is so haphazard and unproductive; he appears to pose little threat to their scheme. The terrorists appear to have no clear motive for kidnapping Bev and holding her hostage. It’s done on impulse. Even if they planned to use her as a bargaining chip, it’s not clear what, if anything, they might be bargaining for. And if they do have some sort of extortion in mind, then it’s odd that they fail to follow through with it. Instead, they simply tie Bev up next to the bomb, perhaps as a way of getting revenge on Kevin (revenge for what is anyone’s guess). If that’s their intention, then it’s a stupid move, for it’s Bev who ends up disarming the bomb.
11.	Patch up the numerous plot holes and inconsistencies.
	The same lack of intelligence and restraint that afflicts the terrorists also seems to plague the cops. For example, Hunsaker orders his men to unleash a barrage of gunfire on a residence, even though the police have not been fired upon, and they have no clear picture of who may be inside the place. It looks brutal and sloppy in the extreme. It’s amusing for Kevin to have such a poor arrest record that his friends, Saul and Debby, help him by faking a crime (page 39). It is, however, also somewhat farfetched. Saul is an ex-con. Becoming involved in a crime, even a faked one, would put him in considerable jeopardy with the law. The potential benefits simply do not outweigh the risks. Why doesn’t Big Eddy take Kevin to Benny? Instead, he sends Kevin on his way and arranges a meeting with Benny, saying, “We’ll bring him to you.” It doesn’t make sense. And the resultant race through the streets of Manhattan, as Kevin and Benny each try to make their rendezvous in time, looks contrived. If these notes were to address each and every lapse in believability, they might run three times their present length. In an effort to detail these smaller points as efficiently as possible, page notes have been written on the script itself

Kali ini mari kita sedikit membahas yang agak ngawur dari topik dan agak menyeramkan.

Jaman lagi krisis begini tidak sedikit orang yang punya pikiran pendek untuk mengakhiri hidupnya alias bunuh diri.

Kira-kira dimana yah tempat yang "bagus" untuk mengakhiri hidup? Ini dia 10 tempat paling terkenal untuk melakukan bunuh diri !!! Ih, serem!!!!

10. Niagara Falls, USA / CA

Banyak orang mencoba mengakhiri hidupnya di air terjun di sini tetapi ternyata tidak semuanya sukses loh!! Seorang yang bernama Kirk Jones setelah melompat dari ketinggian lebih dari 16 lantai, ternyata tidak meninggal dan hanya patah tulang sedikit.

9. Cold Springs Canyon Arch Bridge, USA

Dengan ketinggian sekitar 1.214 kaki (370 m) tentu menjadi spot yang "menarik" bagi orang yang sedang stres

8. Bridgend, Wales

23 orang yang berumur 15-30 tahun ditemukan bunuh diri di kota ini dengan berbagai cara dan membuat pemerintah disana mengeluarkan sebuah iklan dan lembaga untuk mencegah bunuh diri.

7. Las Vegas Strip, LA

Setidaknya sebelum melakukan hal yang memalukan tersebut, sebagian orang berusaha untuk bersenang-senang dengan berjudi, minum dan sebagainya, setelah itu barulah mereka mengakhiri hidup mereka di kota judi tersebut.

6. Sandanbeki, Japan

Jurang dengan dasar yang berbatu tentu akan memberikan tingkat "keberhasilan" untuk orang yang bunuh diri di kota kecil di Wakayama. Karena cukup banyak yang bunuh diri disini, pemerintah disana sampai harus mengeluarkan papan pengumuman seperti yang ada di gambar yang artinya "Tunggu sebentar. Kematian bukanlah jalan keluar".

5. Sioux falls, USA

Setidaknya 15-25 yang berusia muda mengakhiri hidupnya disini.

4. Beachy Head, UK

Tinggi tebing ini sekitar 162 m dan setidaknya ada 20 orang yang bunuh diri sehingga membuat pemerintah disana membuat sebuah tim yang melakukan patroli di daerah ini, bahkan juga telah disediakan sebuah telpon khusus untuk tersambung langsung ke lembaga konsultasi disana.

3. The Gap, Australia

Setidaknya ada 50 orang yang bunuh diri di tebing ini setiap tahunnya dan untuk mencegah bunuh diri telah dipasang kamera pengintai, telpon dan pagar yang tinggi.

2. Aokigahara, Japan

Terletak di dekat gunung Fuji yang terkenal itu, hutan Aokigahara atau dikenal dengan Lautan Pohon dikenal sebagai salah satu tempat "favorit" bagi orang Jepang untuk mengakhiri hidupnya dan pada tahun 1998, ada 73 orang yang bunuh diri disini dan terus meningkat dari tahun ke tahun. Oh iya, ternyata di Jepang juga ada "musim" bunuh diri yaitu pada akhir bulan Maret atau awal April dimana ini adalah periode akhir tutup buku alias bulan untuk mengetahui untung atau rugi.

1. Golden Gate Bridge, USA

Ini dia yang menjadi tempat terfavorit bagi orang untuk bunuh diri dan sedikitnya 1 orang setiap 2 minggu melakukan bunuh diri di jembatan gantung yang terkenal ini. dipetik dari:eksplorasi dunia,10 tempat terkenal bunuh diri februari 7 2010