Word Families - a Quick Reference for Teachers

Word Families - a Quick Reference for Teachers Word Families are sometimes referred to as groups, chunks or rimes. A word family has something in common with each other, have it be the prefix, suffix or root word. For example, green, grass, grow all have the gr sound in the beginning of the word. What are the Benefits? Word families are important because they help young children recognize and analyze word patterns when they are learning to read. When teaching analytic phonics, teachers use word families to help children understand these patterns and that certain words have the same letter combinations and sounds. Most Common Word Families According to researchers Wylie and Durrel, there are 37 common word families: ack, ain, ake, ale, all, ame, an, ank, ap, ash, at, ate, aw, ay, eat, ell, est, ice, ick, ide, ight, ill, in, ine, ing, ink, ip, it, ock, oke, op, ore, ot, uck ,ug, ump, unk. ack- back, hack, pack, rackain - brain, chain, main, plainake - awake, bake, cake, fakeale - ale, bale, sale, taleall - all, ball, call, hallame - blame, came, game, samean - an, ban, can, panank - bank, drank, sank, tankap - cap, map, rap, tapash - bash, dash, rash, sashat - bat, cat, fat, matate - fate, gate, late, rateaw - claw, draw, paw, saway - day, hay, may, sayeat - beat, feat, meat, seatell - bell, fell, tell, wellest - best, rest, vest, westice - dice, mice, nice, riceick - brick, kick, pick, sickide - bride, hide, ride, sideight - bright, fight, light, nightill - bill, hill, pill, stillin - bin, chin, grin, tinine - dine, fine, mine, vineing - bring, king, sing, wingink - drink, link, pink, sinkip - chip, dip, lip, sipit - bit, fit, hit, sitock - block, clock, rock, sockop - cop, hop, mop, topore - bore, more, sore, toreot - got, hot, not, rotuck - buck, duck luck, tuckug - bug, hug, mug, rugump - bump, dump, jump, pumpunk - bunk, dunk, junk,sunk Source: Richard E. Wylie and Donald D. Durrell, 1970. Teaching Vowels Through Phonograms. Elementary English 47, 787-791.

10 Points About Possessives

10 Points About Possessives 10 Points About Possessives 10 Points About Possessives By Mark Nichol Writers are often challenged by the details of producing singular and possessive forms, but dealing with less common possessive variations can be downright vexing. Here are guidelines about additional possessive constructions. 1. Absolute Possessives His, hers, its, theirs, ours, mine, and yours, which are termed absolute possessives because, unlike their simple possessive versions (for example, their and my), they require no subsequent noun, should never be followed by an apostrophe. (Note that his and its, which can precede a noun or noun phrase or can stand alone, do not change form depending on whether they are simple or absolute possessives.) 2. Compound Possessives The possessive form in compound nouns and in noun phrases is generally expressed only in the final element for example, â€Å"The student teachers’ experiences varied†; â€Å"Her brothers-in-law’s attitudes differed dramatically.† (It might be better to relax the syntax: â€Å"The experiences of the student teachers varied†; â€Å"The attitudes of her brothers-in-law differed dramatically.†) 3. Genitive Possessives The genitive form, also known as the possessive form although most phrases formed this way refer to relationship, not to possession is most often problematic when the apostrophe implies of, as in â€Å"a hundred dollars’ worth† or â€Å"three months’ time.† (See this post for a discussion of the various types of genitive.) 4. Phrasal Possessives The spontaneity of speech often results in statements such as â€Å"The family down the street’s RV was hit by a car,† but because writing enables more thoughtful composition, writers should avoid such awkward constructions; instead, write, â€Å"The RV belonging to the family down the street was hit by a car.† 5. Possessives Attached to Italicized Terms An apostrophe and an s following an italicized term should not be italicized for example, â€Å"Did you read the Washington Post’s editorial today?† If the style calls for quotation marks instead of italics, avoid constructions like â€Å"Did you read the ‘Washington Post’’s editorial today?† Instead, revise the sentence, for example, to â€Å"Did you read the editorial in today’s ‘Washington Post’?† 6. Possessive with Gerund In a sentence in which a gerund (a verb functioning as a noun), not the proper noun or the pronoun preceding it, is understood to be the subject of the sentence as in â€Å"Jane’s yelling had put us all in a bad mood† the proper noun or pronoun (a modifying part of speech known as a determiner) should be in the possessive form. The sentence is expressing that the yelling caused the bad moods, and the genitive form Jane’s identifies the yeller. In â€Å"Jane yelling had put us all in a bad mood,† by contrast, Jane is the subject and yelling is a verb; the implied subject is â€Å"The act of Jane.† This construction, however, is awkward; either use the construction with the gerund, or relax the sentence to something like, â€Å"When Jane yelled, it put us all in a bad mood.† 7. Possessive Forms vs. Attributive Forms Organizations, businesses, and government agencies often refer to themselves attributively, meaning that one noun modifies another for example, respectively, note the names of the California Teachers Association, the Diners Club, and the Department of Veterans Affairs. The key noun in each name takes the plural s but not the genitive apostrophe, because the entities are intended for the referenced groups rather than established by them. However, similarly constructed generic terms such as â€Å"farmers’ market† and â€Å"girls’ soccer team† are genitive phrases and should feature an apostrophe after the plural s. Similarly, a name used as an adjective is attributive, not possessive: Write â€Å"the Jones Mansion,† not â€Å"the Jones’s Mansion,† as, for example, a designation for a historical landmark (though â€Å"the Jones’s mansion† is correct for a simple description of, for example, a neighbor’s house), or â€Å"the Vikings game† (but â€Å"the Vikings’ win-loss record†). 8. Possessive of Inanimate Objects Generally, constructions such as â€Å"The jar’s lid is cracked† is more efficient than, for example, â€Å"The lid of the jar is cracked,† but avoid rendering such set phrases as â€Å"the head of the class† unidiomatic. (â€Å"Go to the class’s head† fumbles the idiom.) 9. Possessive Preceded by Of When a phrase describing a relationship includes the preposition of, as in â€Å"a neighbor of Dad’s† or â€Å"that statement of Smith’s,† note that the presence of the preposition does not preclude the need for the genitive apostrophe. (A construction omitting the apostrophe doesn’t necessarily look wrong, but consider the example â€Å"the book of John†; this phrase suggests a book about John, not one belong to or written by John.) However, consider simplifying the phrase to, for example, â€Å"Dad’s neighbor† or â€Å"Smith’s statement† when doing so does not change the meaning. (â€Å"A neighbor of Dad’s,† for example, implies one of two or more neighbors more strongly than â€Å"Dad’s neighbor† does, and â€Å"that statement of Smith’s,† for example, more clearly specifies a particular statement than â€Å"Smith’s statement† does.) 10. Shared and Separate Possession When two closely related nouns refer to as a single entity, as in a statement about a comedy team’s best-known routine (â€Å"She’s never heard Abbott and Costello’s ‘Who’s on First’ bit†), only the second item is assigned a possessive form. But when the component entities are discussed as separate things, both items should have the possessive form, as in â€Å"Abbott’s and Costello’s off-screen personalities were consistent with their on-screen personas.† Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Grammar category, check our popular posts, or choose a related post below:36 Adjectives Describing Light25 Russian Words Used in English (and 25 More That Should Be)Drama vs. Melodrama

The Communication Technology Effect in Business Research Paper - 1

The Communication Technology Effect in Business - Research Paper Example It has examined and analyzed literature related to the use of the internet, emails, websites, social media as well as wireless technology devices such as smartphones, radio frequency, cloud computing devices and other cellular devices. This discussion demonstrates how these technologies are used for communication purposes within an internal department of a business and also with the outside world, and the ways they have been used in communication to benefit the business organizations. This paper also discusses the advantages that these communication technologies have offered to business over time as well as the limiting factors of the same.     Incidentals of Authorization and Submittal This study of communication technology effects in business is submitted to Mr. Dennis H. Mohle, BA 105W Instructor, on Dec 10, 2013. As authorized on Jan 22, the research and was conducted under the direction of Dennis H. Mohle of Business Communication Research, LLP. The objective of the Study Ob jective of communication technology effect in business Research Study: The objective of the study was to explore and examine how advancement in communication technology has impacted on the way business operations are conducted locally and internationally. Use of Observational Techniques The methodology used in this investigation was observational and analysis of the literal information and statistics available from research articles, peer-reviewed journals, books, periodicals and the internet on the effect of communication technology in business.  Ã‚  

DETAILED COMPARISON BETWEEN ACT AND RULE UTILITARIANISM Essay

DETAILED COMPARISON BETWEEN ACT AND RULE UTILITARIANISM - Essay Example A good consequence is determined in terms of pleasure or happiness (both intrinsic and instrumental), according to Bentham. So, his concept can also be termed as â€Å"hedonic utilitarianism† since he experimented logically that we look for pleasure (hedonism) and avert pain, assuming that both pleasure and pain hold an impact on our decisions, although we are conscious of right or wrong and cause or effect. Two forms of utilitarianism, act utilitarianism and rule utilitarianism are in conflict with each other. Act utilitarianism, being a results-oriented theory, supports consequentialism, assuming right or wrong on the basis of outcomes. Instead, rule utilitarianism, being an idealistic and inflexible theory, is based on rules involving conduct and related principles. Believers of rule utilitarianism don’t violate the rules, approved by mainstream. Act Utilitarian upholds that the principle of utility must be employed in all individual situations, whenever possible. Bentham indicates that most vital attributes to determine what is moral are pleasure and pain. The practicality of an action decides its rightness or wrongness, bringing about the utmost good from countless evolving outcomes. For instance, if you are in a state where you consider lying to be a supreme good, at that point, you should lie. If infringement of law leads towards ultimate good of a particular act, then that act would be correct to adhere to. Likewise, Act Utilitarianism allows for flexibility, considering individual situations and identifying the right action strategy to produce extreme happiness. Conversely, Rule Utilitarianism, associated with John Stuart Mill, concentrates on common rules that each person must obey to lead towards the greatest community benefit. Unlike Act Utilitarianism, Rule Utilitarianism institutes the best rules, followed by the whole community, though it doesn’t head

We Must Protect and Conserve Wildlife Essay -- Wildlife Preservation

Wildlife preservation may be an important contribution to our animal’s lives, but what if these animal’s lives would be getting in the way of our economy gaining money. Why do we have to risk the lives of these innocent animals? I chose this topic on wildlife preservation because I feel that we humans who have voices need to speak up and do so. I’ve watched animal television documentaries of helpless animals having nowhere to go because of everything we decide to cut down. Yes, it may be true that we need to use our natural resources to survive but why not get more involved with recycling and other substitutes? These wildlife preservation need to stay safe so these animals can help our environment naturally. Game preservation are a protected area while the hunting of certain species of animals isn’t allowed. This allows species to be exploited in a large landscape without having to worry about hunters doing what they love to do, kill animals. The first wildlife refuge was created by President Theodore Roosevelt in 1903. (Freedman 1) National wildlife refuges in 1988 closely regulated hunting were permitted in 60% of the refuges. (Freedman 1) Why make a safe home for animals but still allow hunting to take place? The refuges are made for animals to be away from hunters and people, who are trying to kill them, why spend all the money to allow the purpose to be over looked? We spend thousands of thousands to buy the property and it seems like it just all goes to waste. Yellow Stone Park seems to be the only wildlife preservation that actually uses it to keep the animals safe. This is one of the most famous protected areas in North America, thankfully hunting is not allowed. This has allowed the build-up of relatively large populat... ...s&version=1.0>. 4. Plessis, Jens du. "Controlled Hunting Will Help Preserve Africa's Wildlife." Opposing Viewpoints: Africa. Ed. Laura K. Egendorf. San Diego: Greenhaven Press, 2005. Opposing Viewpoints Resource Center. Gale. Niagara Falls High School. 10 May. 2010 . 5. Hal Herring. "Hunting Makes Significant Contributions to Wildlife Protections." Opposing Viewpoints: Hunting. Ed. Dawn Laney. Detroit: Greenhaven Press, 2008. Opposing Viewpoints Resource Center. Gale. Niagara Falls High School. 10 May. 2010 .

Expressionism in Death of Salesman Essay

From the opening flute notes to their final reprise, Miller’s musical themes express the competing influences in Willy Loman’s mind. Once established, the themes need only be sounded to evoke certain time frames, emotions, and values. The first sounds of the drama, the flute notes â€Å"small and fine,† represent the grass, trees, and horizon – objects of Willy’s (and Biff’s) longing that are tellingly absent from the overshadowed home on which the curtain rises. This melody plays on as Willy makes his first appearance, although, as Miller tells us, â€Å"[h]e hears but is not aware of it† (12). Through this music we are thus given our first sense of Willy’s estrangement not only from nature itself but from his own deepest nature. As Act I unfolds, the flute is linked to Willy’s father, who, we are told, made flutes and sold them during the family’s early wanderings. The father’s theme, â€Å"a high, rollic king tune,† is differentiated from the small and fine melody of the natural landscape (49). This distinction is fitting, for the father is a salesman as well as an explorer; he embodies the conflicting values that are destroying his son’s life. The father’s tune shares a family likeness with Ben’s â€Å"idyllic† (133) music. This false theme, like Ben himself, is associated finally with death. Ben’s theme is first sounded, after all, only after Willy expresses his exhaustion (44). It is heard again after Willy is fired in Act II. This time the music precedes Ben’s entrance. It is heard in the distance, then closer, just as Willy’s thoughts of suicide, once repressed, now come closer at the loss of his job. And Willy’s first words to Ben when he finally appears are the ambiguous â€Å"how did you do it?† (84). When Ben’s idyllic melody plays for the third and final time it is in â€Å"accents of dread† (133), for Ben reinforces Willy’s wrongheaded thought of suicide to bankroll Biff. The father’s and Ben’s themes, representing selling (out) and abandonment, are thus in opposition to the small and fine theme of nature that begins and ends the play. A whistling motif elaborates this essential conflict. Whistling is often done by those contentedly at work. It frequently also accompanies outdoor activities. A whistler in an office would be a distraction. Biff Loman likes to whistle, thus reinforcing his ties to nature rather than to the business environment. But Happy seeks to stifle Biff’s true voice: HAPPY . . . Bob Harrison said you were tops, and then you go and do some damn fool thing like whistling whole songs in the elevator like a comedian. BIFF, against Happy. So what? I like to whistle sometimes. HAPPY. You don t raise a guy to a responsible job who whistles in elevator! (60) This conversation reverberates ironically when Howard Wagner plays Willy a recording of his daughter whistling Roll out the Barrel† just before Willy asks for an advance and a New York job (77). Whistling, presumably, is all right if you are the boss or the boss’s daughter, but not if you are an employee. The barrel will not be rolled out for Willy or Biff Loman. Willy’s conflicting desires to work in sales and to do outdoor, independent work are complicated by another longing, that of sexual desire, which is expressed through the â€Å"raw, sensuous music† that accompanies The Woman’s appearances on stage (116, 37). It is this music of sexual desire, I suggest, that â€Å"insinuates itself† as the first leaves cover the house in Act 1.5 It is heard just before Willy – reliving a past conversation – offers this ironic warning to Biff: â€Å"Just wan na be careful with those girls, Biff, that’s all. Don’t make any promises. No promises of any kind† (27). This raw theme of sexual desire contrasts with Linda Loman’s theme: the maternal hum of a soft lullaby that becomes a â€Å"desperate but monotonous† hum at the end of Act I (69). Linda’s monotonous drone, in turn, contrasts with the â€Å"gay and bright† music, the boys’ theme, which opens Act II. This theme is associated with the â€Å"great times† (127) Willy remembers with his sons – before his adultery is discovered. Like the high, rollicking theme of Willy’s father and like Ben’s idyllic melody, this gay and bright music is ultimately associated with the false dream of materialistic success. The boys theme is first heard when Willy tells Ben that he and the boys will get rich in Brooklyn (87). It sounds again when Willy implores Ben, â€Å"[H]ow do we get back to all the great times?† (127). In his final moments of life, Willy Loman is shown struggling with his furies: â€Å"sounds, faces, voices, seem to be swarming in upon him† (136). Suddenly, however, the â€Å"faint and high† music enters, representing the false dreams of all the â€Å"low† men. This false tune ends Willy’s struggle with his competing voices. It drowns out the other voices, rising in intensity â€Å"almost to an unbearable scream† as Willy rushes off in pursuit. And just as the travail of Moby Dick ends with the ongoing flow of the waves, nature, in the form of the flute’s small and fine refrain, persists – despite the tragedy we have witnessed. Sets In the introduction to his Collected Plays, Miller acknowledges that the first image of Salesman that occurred to him was of an enormous face the height of the proscenium arch; the face would appear and then open up. â€Å"We would see the inside of a man’s head,† he explains. â€Å"In fact, The Inside of His Head was the first title. It was conceived half in laughter, (60) for the inside of his head was a mass of contradictions† (23). By the time Miller had completed Salesman, however, he had found a more subtle plays correlative for the giant head; a transparent setting. â€Å"The entire setting is wholly, or, in some places, partially transparent,† Miller insists in his set description (11). By substituting a transparent setting for a bisected head, Miller invited the audience to examine the social context as well as the individual organism. Productions that eschew transparent scenery eschew the nuances of this invitation. The transparent lines of the L oman home allow the audience physically to sense the city pressures that are destroying Willy. â€Å"We are aware of towering, angular shapes behind [Willy’s house], surrounding it on all sides. The roofline of the house is one-dimensional; under and over it we see the apartment buildings† (11-12). Wherever Willy Loman looks are these encroaching buildings, and wherever we look as well. Willy’s subjective vision is expressed also in the home’s furnishings, which are deliberately partial. The furnishings indicated are only those of importance to Willy Loman. That Willy’s kitchen has a table with three chairs instead of four reveals both Linda Loman’s unequal status in the family and Willy’s obsession with his boys. At the end of Act I, Willy goes to his small refrigerator for life-sustaining milk (cf. Brecht’s parallel use of milk in Galileo). Later, however, we learn that this repository of nourishment, like Willy himself, has broken down. That Willy Loman’s bedroom contains only a bed, a straight chair, and a shelf holding Biff’s silver athletic trophy also telegraphs much about the man and his family. Linda Loman has no object of her own in her bedroom. Willy Loman also travels light. He has nothing of substance to sustain him. His vanity is devoted to adolescent competition. Chairs ultimately become surrogates for people in Death of a Salesman as first a kitchen chair becomes Biff in Willy’s conflicted mind (28) and then an office chair becomes Willy’s deceased boss, Frank Wagner (82). In, perhaps, a subtle bow to Georg Kaiser’s Gas I and Gas II, Miller’s gas heater glows when Willy thinks of death. The scrim that veils the primping Woman and the screen hiding the restaurant where two women will be seduced suggest Willy Loman’s repression of sexuality. Lighting Expressionism has done more than any other movement to develop the expressive powers of stage lighting. The German expressionists used light to create a strong sense of mood and to isolate characters in a void. By contrasting light and shadow, and by employing extreme side, overhead, and rear lighting angles, they established the nightmarish atmosphere in which many of their plays took place. The original Kazan Salesman made use of more lights than were used even in Broadway musicals (Timebends 190). At the end of act 1, Biff comes downstage â€Å"into a golden pool of light† as Willy recalls the day of the city baseball championship when Biff was â€Å"[l]ike a young God. Hercules – something like that. And the sun, the sun all around him.† The pool of light both establishes the moment as one of Willy’s memories and suggests how he has inflated the past, given it mythic dimension. The lighting also functions to instill a sense of irony in the audience, fo r the golden light glows on undiminished as Willy exclaims, â€Å"A star like that, magnificent, can never really fade away!† We know that Biff’s star faded, even before it had a chance to shine, and even as Willy speaks these words, the light on him begins to fade (68). That Willy’s thoughts turn immediately from this golden vision of his son to his own suicide is indicated by the â€Å"blue flame† of the gas heater that begins immediately to glow through the wall – a foreshadowing of Willy’s desire to gild his son through his own demise. Productions that omit either the golden pool of light or the glowing gas heater withhold this foreshadowing of Willy’s final deed. Similarly, productions that omit the lights on the empty chairs miss the chance to reveal the potency of Willy’s fantasies. Perhaps even more important, the gas heater’s flame at the end of Act I recalls the â€Å"angry glow of orange† surrounding Willy’s house at the play’s beginning (11). Both join with the â€Å"red glow† rising from the hotel room and the restaurant to give a felt sense of Willy’s twice articulated cry: â€Å"The woods are burning!†¦There’s a big blaze going on all around† (41, 107). Without these sensory clues, audiences may fail to appreciate the desperation of Willy’s state. Characters and Costumes Miller employs expressionistic technique when he allows his characters to split into younger versions of themselves to represent Willy’s memories. Young Biff’s letter sweater and football signal his age reversion, yet they also move in the direction of social type. The Woman also is an expressionistic type, the play’s only generic character other than the marvelously individualized salesman. Miller’s greatest expressionistic creations, however, are Ben and Willy Loman. In his Paris Review interview, Miller acknowledged that he purposely refused to give Ben any character, â€Å"because for Willy he has no character – which is, psychologically, expressionist because so many memories come back with a simple tag on them: somebody represents a threat to you, or a promise† (Theater Essays 272). Clearly Ben represents a promise to Willy Loman. It is the promise of material success, but it is also the promise of death.6 We might consider Uncle Ben to be the ghost of Ben, for we learn that Ben has recently died in Africa. Since Miller never discloses the cause of Ben’s death, he may be a suicide himself. His idyllic melody, as I have noted, becomes finally a death march. In Willy’s last moments, the contrapuntal voices of Linda and Ben vie with each other, but Willy moves inexorably toward Ben. Alluding to Africa, and perhaps also to the River Styx, Ben looks at his watch and says, â€Å"The boat. We’ll be late† as he moves slowly into the darkness (135). Willy Loman, needless to say, is Miller’s brilliant demonstration that expressionistic techniques can express inner as well as outer forces, that expressionism can be used to create â€Å"felt,† humane character. The music, setting, and lighting of Salesman all function to express the world inside Willy Loman’s head, a world in which social and personal values meet and merge and struggle for integration. As Miller writes in the introduction to his Collected Plays: [The play’s] expressionistic elements were consciously used as such, but since the approach to Willy Loman’s characterization was consistently and rigorously subjective, the audience would not ever be aware – if I could help it – that they were witnessing the use of a technique which had until then created only coldness, objectivity, and a highly styled sort of play. (39) In 1983, when Miller arrived in Beijing to direct the first Chinese production of Death of a Salesman, he was pleased to find that the Chinese had created a mirror image of the original transparent set. Seeing this set, and observing that the kitchen was furnished with only a refrigerator, table, and two (not even three) chairs, Miller felt â€Å"a wonderful boost† to his morale (Salesman in Beijing 3-4). Teachers and directors might offer a similar boost by giving full weight to the expressionistic moments in Death of a Salesman. For directors, achieving such moments may be technically demanding, but they should not be abandoned simply because they are challenging.7 Similarly, the expressionistic devices should not be considered too obvious for postmodern taste. In truth, the expressionism in Salesman is not intrusive. Its very refinement of German expressionism lies in its subtlety, in its delicate balance with the realistic moments in the drama. This ever-shifting tension between realism and expressionism allows us to feel the interpenetration of outer and inner forces within the human psyche. The expressionistic devices also elevate Willy’s suffering, for they place it in the context of the natural order. To excise the expressionism is to diminish the rich chord that is Miller’s drama

What Can Happen And How They Are Completely Different

and what can happen and all that, and he also read many books because he couldn t do anything else in his house. For my assistance most of my friends, as well as family encouraged me to do cheer because they thought it would be something that would be good for me to do. It was funny though because a lot of people could not believe that I actually wanted to do cheer. Both of our assistances are similar as well because people helped us and explained things that we needed to know. Now, I am going to explain both of our crisis’ and how they are completely different. Luke s crisis was when he ran as fast as he could to Jens house, and how he almost got caught when he went to her house because the alarms were going off. Like I had said before,†¦show more content†¦Luke was â€Å"freed† when he went downstairs when no one was home. He went and closed the curtain and just hung out downstairs for once. He turned the radio that they had on low and danced around. Luke even turned on the oven and cooked some bread for dinner that night, it didn t turn out good but he tried. Luke also cleaned up the kitchen and did the dishes for his mother. Then, Luke â€Å"left the Cave†, which was his house. He left his house when his older brothers were gone at school, his mom was at work, and when his dad went to work on their 5 field. Luke was really nervous, but he finally got the courage to go outside. After he calmed down he eventually learned to love it out there. He loved the fresh air that he would breath in, and the smell, he absolutely loved it. He forgot what all of that was like. Then, he finally started running to the sports family’s house. He ran as fast as he could and got to their back yard. The screen door was open, but locked. He kept trying to yank it open but it wouldn t budge. He then tore a hole in the screen part and let himself in. Alarms were screeching and Luke was scared. He was in disbelief when he saw a girl come down the stairs. He was so amazed at what he had seen. She had to hurry up and disable the alarm. Then she called her dad. She just told him that she was messing around again and it was just her that made the alarm go off. Luke just told her that she needed