20.TRACK SHOT WITH STEVE20. As he walks over to the car, gets in it, turns the key.

21.DIFFERENT ANGLE – LOOKING21.

THROUGH THE OPEN DOOR

Beyond it we see the crowd watching him from the other side. Steve starts the engine. It turns over sluggishly and then just stops dead. He tries it again and this time he can't get it to turn over. Then very slowly and reflectively he turns the key back to "off" and then slowly gets out of the car.

22.GROUP SHOT22.

As they stare at Steve. He stands for a moment by the car then walks toward the group.

STEVE

I don't understand it. It was working fine before –

DON

Out of gas?

STEVE

(shakes his head)

I just had it filled up.

WOMAN ONE

What’s it mean?

—The Monsters Are Due on Maple Street,

Rod Serling

100 points to who ever anwser and brainliest to who ever anwsers first

Read the excerpt from "the storyteller." the smaller girl created a diversion by beginning to recite "on the road to mandalay.” she only knew the first line, but she put her limited knowledge to the fullest possible use. she repeated the line over and over again in a dreamy but resolute and very audible voice; it seemed to the bachelor as though some one had had a bet with her that she could not repeat the line aloud two thousand times without stopping. whoever it was who had made the wager was likely to lose his bet. "come over here and listen to a story,” said the aunt, when the bachelor had looked twice at her and once at the communication cord. the children moved listlessly towards the aunt’s end of the carriage. evidently her reputation as a storyteller did not rank high in their estimation. in a low, confidential voice, interrupted at frequent intervals by loud, petulant questionings from her listeners, she began an unenterprising and deplorably uninteresting story about a little girl who was good, and made friends with every one on account of her goodness, and was finally saved from a mad bull by a number of rescuers who admired her moral character. which instances of situational irony occur in the passage? select two options. a.) “whoever it was who had made the wager was likely to lose his bet.” b.) “‘come over here and listen to a story,’ said the aunt, when the bachelor had looked twice at her and once at the communication cord.” -- c.) “the children moved listlessly towards the aunt’s end of the carriage.” d.) “evidently her reputation as a story-teller did not rank high in their estimation.” -- e.) “in a low, confidential voice, interrupted at frequent intervals by loud, petulant questionings from her listeners, she began an unenterprising and deplorably uninteresting story about a little girl who was good.”

Read the excerpt from the odyssey. now zeus the lord of cloud roused in the north a storm against the ships, and driving veils of squall moved down like night on land and sea. the bows went plunging at the gust; sails cracked and lashed out strips in the big wind. we saw death in that fury, dropped the yards, unshipped the oars, and pulled for the nearest lee: then two long days and nights we lay offshore worn out and sick at heart, tasting our grief, until a third dawn came with ringlets shining. which key details should be included in a paraphrase of this passage? check all that apply. the storm was a direct result of zeus’s fury at the men. for two days and nights, zeus created a storm at sea. odysseus and his men feared greatly for their lives. the sails on the ship cracked in the heavy winds. the men felt grief as they lay offshore and waited

The poetic interpretation of the twist is written in