20. TRACK SHOT WITH STEVE20. As he walks over to the car, gets in it, turns the key. 21. DIFFERENT ANGLE â€" 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 â€" DON Out of gas? STEVE (shakes his head) I just had it filled up. WOMAN ONE What’s it mean? â€"The Monsters Are Due on Maple Street, Rod Serling Write two to three sentences explaining what readers should visualize as they read this part of the scene.

At first i was afraid to approach him—then the fear left me. he was sitting looking out over the city—he was dressed in the clothes of the gods. his age was neither young nor old—i could not tell his age. but there was wisdom in his face and great sadness. you could see that he would have not run away. he had sat at his window, watching his city die—then he himself had died. but it is better to lose one's life than one's spirit—and you could see from the face that his spirit had not been lost. i knew, that, if i touched him, he would fall into dust—and yet, there was something unconquered in the face. how does the conflict at the beginning of the paragraph move the plot forward? the narrator realizes that he is scared of the gods. the narrator realizes that he distrusts the spirits the narrator realizes that the god was a man. the narrator realizes that he is powerful like the gods.