Which statement best summarizes page 836 of "The Monsters are Due On Maple Street ?"

A sound and flash appeared over Maple Street U.S.A.

Everyone heard a roar and looked up at the sky.

It was the last reflective moment.

A tremendous screeching roar was heard overhead.

Based on pages 837-838 Which of these sentences makes the strongest argument for the reason why the power went out?

Something unknown caused the power to go out.

A drunk driver crashed into a power box .

In a summary of the text so far, the most important detail to include is—

Everything on Maple Street changed instantly.

Tommy didn't want anyone to leave.

Everything changed over the course of a few hours.

The Monsters... SOL Summary Pre-Questions

The Monsters are due on Maple Street

The Monsters are Due on Maple Street Quiz

Bonk's New Bike Bonk has dreams about the bike he wants. It is red with cool handlebars and spokes. Bonk sees the bike on TV. He sees it in the newspaper, too. He opens his monster bank. He has only five pennies. "I have to earn enough money for my new bike," says Bonk. "I will start a dog walking business," he says. He goes door to door asking people if he can walk their dogs. "Can we help walk dogs, too?" asks Jupe. "I'll do it by myself," Bonk says. "I'm saving my money for a new bike." Soon, Bonk's phone begins to ring. People knock on his door. They all want Bonk to walk their dogs! "This will be a fun and easy way to earn money," Bonk says. On Saturday, Bonk picks up each dog. There are big dogs, little dogs. fancy dogs, and plain dogs. The dogs are barking, jumping, and running around. Bonk gets all their leashes together and begins to walk. One dog tangles up his leash. Another dog rolls in the mud. Another dog chases a cat! "This is not fun!" Bonk says. "It is not easy either!" Lurk, Uzzle, and Jupe ride their scooters past Bonk. "Do you want some help now. Bonk?" Jupe asks. Bonk gives each of the monsters a dog to walk. When they are finished walking. the dog owners pay the monsters. "I'm sorry I said you couldn't help with the dog walking," says Bonk. "I couldn't have done it without you." Jupe, Lurk, and Uzzle talk. They give their money to Bonk. "This is for your new bike," says Jupe. "But you earned this money, too," says Bonk. "We want something other than money," says Lurk. "Anything you want," Bonk says. "When you get your new bike, we want to take turns riding it!" says Jupe. "It's a deal!" says Bonk.

Percy Jackson and the Olympians: The Sea of Monsters Chapter 7

Spelling - Greek Gods and Important Characters of The Sea of Monsters

THAT'S ENTERTAINMENT Big movies on a small budget. Do you need millions of dollars to make a movie? No. Do you need millions of dollars to make a successful movie? Most people would answer 'Yes' to that question. But would they be right? We're used to hearing about really expensive Hollywood films. The 1997 Oscar-winner Titanic cost $200 million to make, and more recently, Spider Man 3, one of the most successful films of 2007, had a budget of more than $250 million. To be successful, however, a film doesn't need to be as expensive as the big Hollywood blockbusters. An example of this is the 2010 movie Monsters, which cost less than half a million dollars to make. Monsters is set in Mexico and is the story of two people trying to escape from aliens and get back to the USA. The film won several awards and got very good reviews from many film critics-for example, the website Moviefone put Monsters at number 3 in its list of the best sci-fi films for 2010. How did they make the film so cheaply? First of all, it only took three weeks to film, and the film crew was just seven people in a van. Secondly, the man who made the film, Gareth Edwards. decided to film it with digital video, which is cheaper than the usual 35mm film. (The film equipment cost only $15,000 altogether) There is also the fact that they used real locations, not a studio. And the cast of the film were Edwards himself and two friends of his all the extras in the film were people who were just there, and they weren't paid. Most importantly, Edwards did most of the production work himself. He spent eight months editing Monsters and then five months creating the special effects. And he did it all at home on his computer, using non-professional software. The amazing thing is that the final film looks nearly as professional as big, fancy Hollywood productions. Not everybody liked Monsters, of course. One person said: "That's 90 minutes of my life that I'll never get back. But overall, it was very well received. And at least it wasn't expensive to make.

Mud Runs A Messy Race. Mud runs are races where people run through mud. People have been running in mud runs for about thirty years in the United States. Races are held all over the country. Some mud runs are for people who are good at sports. Some are just for fun. All mud runs are the same in one way. People get very muddy! They Don't Make It Easy. Running through mud isn't easy. The mud sticks to your shoes and slows you down. It's hard to move forward. The people who plan mud runs know this. They use mud to make parts of the course hard. Racers need to be strong to climb over nets and walls. They need to be careful to get past parts like the balance beam. They need to get down into the mud to crawl under walls or through tunnels. They need to be brave to slide down big hills or even jump over fire! Monsters in the Mud. Some mud runs have an extra twist, such as monsters. In a zombie mud run, racers run away from people dressed as zombies. Racers can run from zombies or choose to become zombies and chase others. Which would you rather be? Run in a Costume. At many races, runners often dress up in costumes just for fun. Costumes get covered in mud, and many also get torn during the race. It's all part of the fun. Race as a Team. People run as teams in some mud runs. They push and pull each other over walls covered in mud. Mud runs are hard, and working as a team can help everyone have a good time. Running for Fun. You don't have to be great at sports to race in a mud run. Many people run just for fun. Just for Kids. Some mud runs are made for children as young as three. The children's races are shorter, but they have tricky parts, mud, and lots of adventure. You might climb a kid-sized wall. You might wiggle through a kid-sized tunnel. If you choose to run, you're in for a good time! Children sometimes have so much fun that they run the races two or three times. In a mud run, even regular people can feel like superheroes!

Broken windows are covered. Floorboards are patched and doors screwed back on. The road that was ruined by German tanks is shovelled and raked smooth. Boot-shaped bruises turn yellow then fade and disappear. Flowers grow and spread across the ugly German footprints stomped into garden beds. The village looks pretty once more. School stops for the summer and everyone is put to work on the kolkhoz, the village farm. Women and big boys begin harvesting the barley crops in the outer fields. The biggest girls milk the cows, morning and night, and keep the barns clean. Old Nikolay mends ploughs, horse harnesses, pitchforks and scythes in his workshop. Anna Pushinka teaches Yelena and her friends how to get the honey from the beehives that are scattered through the orchards. I am in charge of collecting eggs. My friends Olga and Nina help. Olga and Nina are five, a year younger than me. They are twins and look exactly alike, except Nina’s nose is a little bit crooked from when she fell out of bed and squashed it sideways on the floor. The hens, ducks and geese wander free in the summer, so collecting eggs is like a treasure hunt and takes hours. Catching the hens for their daily hugs takes even longer, but I think it’s important because hugs make everyone happy and happy hens lay bigger eggs. Olga says I’m the best hen-hugger in all of Russia. Nina says I’ll be the best cow-hugger, too, when my arms grow longer. But good hugs have nothing to do with the size of your arms. It’s all to do with the size of your heart. When we are done with the hens, Olga, Nina and I can spend the rest of the day doing whatever we like. We climb the apricot trees, chase squirrels, lie in the meadow marvelling at how hot Ushanka’s black fur becomes in the sunshine, make daisy chains and race little boats of bark in the stream. I teach Olga and Nina the alphabet and we use charcoal to write our letters and our names all over the village – on doors and walls and the freshly cut ends of firewood. In between, I practise my knots. In case the German princemonsters return. I slip into Old Nikolay’s workshop and tie knots in the harnesses hanging on the walls. I wander into gardens where the washing is hung out to dry and tie knots in the laces on pants and smocks. I creep up behind Anna Pushinka and tie knots in her apron strings. I find baling twine in the hay shed and tie my own ankles together. I do such a good job of these last knots that I can’t get them undone. I have to jump all the way to Olga and Nina’s house and ask them to cut me free with their mama’s knife. At the end of each day, Ushanka and I run out into the distant barley fields to meet Mama. This is my favourite part of the day, because Mama always shouts, ‘Little Rabbit!’ and smothers my head with kisses. And as we walk home, we sing. Everyone – women, big boys and me. I love to sing. Almost as much as I love to be kissed by Mama. Sometimes one of the boys, Mikhail, has his balalaika with him. He takes the instrument out from beneath the sheaves of barley piled high on the wagon and plays music. We sing about forests and orchards and people who find their true love. As we walk home, arm in arm, my heart fills with happiness and my belly swells with pride that I am allowed to sing along with the big boys. And I can almost forget about the German prince-monsters and their lies about Russia and their big ugly boots. Almost. But today, when Mikhail reaches for his balalaika, I see other things hiding beneath the barley sheaves. Three of the mamas rush forward and cover them up, but it’s too late. I know they are there. I’ve already seen them. Rifles. Lots of rifles. Mikhail hugs his balalaika to his chest and blushes. ‘So play!’ cries Mama, her voice oddly loud and high. ‘Let’s play Sasha’s favourite song, “The Little Birch Tree”.’ So Mikhail plays and everyone sings about the lovely birch tree with its curly leaves and the branches that will be turned into silver flutes. They sing too quickly, too loudly, and as they sing and walk, they cast nervous sideways glances at me. ‘It’s alright,’ I say, when the song comes to an end. ‘I didn’t see the rifles.’ Mama nods and smiles, and I know it was the right thing to say. But I did see the rifles. And I think about Yelena wanting to get lots of guns and dynamite for the Partisans so they can shoot the Germans and blow them into thousands of tiny pieces, and Mama looking as though she agreed, and I know this is what the mamas and the big boys are doing. As well as harvesting, they are helping the Partisans. Three days later, I wake before dawn and I am all alone. Yelena is always here beside me when I wake. But not this morning. I climb down from our bed above the stove. Mama is filling a cloth sack with bread. She ties it closed with a piece of string and hands it to Yelena. ‘Stay out of sight,’ says Mama. ‘And don’t return until after dark.’ ‘Where’s she going?’ I ask. ‘Nowhere,’ snaps Mama. ‘Then why does she need all that bread?’ I ask. ‘There’s nothing left for us.’ Mama baked four loaves last night and she has stuffed them all into the sack. Yelena opens her mouth, but before she can speak, Mama shoves her out the door and sends her on the way to nowhere. Mama turns and stares at me, her blue, blue cornflower eyes wide with worry. ‘I know,’ I say, flopping down on the bench. ‘I didn’t see any bread.’ Mama sits beside me and takes my hand. ‘And . . .?’ she prods, obviously waiting for more. I puzzle for a while, then say, ‘And I don’t have a sister called Yelena.’ Mama laughs, softly and with a little bit of sadness around the edges. ‘Sweet Little Rabbit! You do have a sister called Yelena.’ ‘I do?’ I ask, now confused. ‘I haven’t seen the rifles or the bread, but I have seen Yelena?’ ‘Yes.’ Mama smiles and the magic makes me smile, too. And I am glad that Yelena is real because I love her very much. ‘Yelena is real,’ Mama explains, ‘but she does not carry sacks of bread into the forest for the Partisans.’ ‘Of course not!’ I shout, slapping my forehead. ‘Because there is no bread!’ Mama laughs loudly now, with not a hint of sadness. She hugs me, pressing me against her warm, loving heart, covering my head with kisses. ‘Clever Little Rabbit,’ she murmurs, and then, in barely a whisper, ‘Your papa would be so proud.’ When I wake the next morning, Yelena is sleeping beside me, her mouth open, her braided hair unravelling. Mama is serving kasha to a strange woman seated at our table. I crawl down from above the stove and slide along the bench beside her. I stare at her pants, her tunic, the rope she is using as a belt and her big boots. She’s dressed like a man! And there’s a rifle leaning against the wall near the door. ‘Hello,’ I say. ‘I’m Sasha.’ The woman doesn’t reply. She just shovels down her kasha. I line my four wooden bears along the table in front of her bowl and say, ‘These are my bears: Big Bear, Medium Bear, Little Bear and Even Littler Bear.’ ‘Hello, Sasha. Hello, bears.’ She smiles but she doesn’t tell me her name. ‘Why are you dressed like a man?’ I ask, tugging at the sleeve of her tunic. ‘Because men’s clothes make it easier to run and climb and crawl and shoot,’ she says. ‘You’re a Partisan!’ I gasp. ‘But she’s not real,’ says Mama, placing a bowl of kasha before me. ‘Is the kasha real?’ I ask. Mama laughs. ‘Yes, Little Rabbit.’ I’m glad the food is real, because I’m hungry. But I’m disappointed that the woman is not real. I was going to ask if I could use her rope-belt to tie her ankles together. For practice. But if she’s not real, then the rope and her ankles aren’t either. The woman finishes her kasha, hangs her rifle over her shoulder, kisses Mama on the cheek then slips out the door. I run to the window to watch her leave, but by the time I get there, she’s gone. Vanished. ‘Because she’s not real,’ I whisper. A week later, Mama and I are working in the garden. We sing as we weed between the flowers and pluck caterpillars from the vegetables. Anna Pushinka is picking strawberries in her garden and wanders over. ‘Taste these,’ she says, holding out the basket. Mama reaches in and takes out a fat strawberry and a tiny piece of folded paper. The strawberry goes into her mouth, the paper into her pocket. ‘What’s on the paper?’ I ask. ‘Paper?’ Anna Pushinka replies with a wave of her hand. ‘Goodness, Sasha! Who has money for paper? These are lean times. We must choose between paper for writing and noodles for our soup. And I always choose noodles.’ She chuckles and I know the paper is yet another thing that is not real. That night, Mama slips the paper to Yelena, but she drops it on the floor. I pick it up for her, and I see that there are tiny words and numbers written all over it. I wish I could read better. I’m desperate to know what it says. Or rather, what it doesn’t say, because it’s not real. Later, when Mama has tucked us into our bed above the stove and Ushanka has wrapped herself around the top of my head, I ask Yelena, ‘What’s on the paper?’ ‘What paper?’ says Yelena. ‘The paper that isn’t real,’ I reply. Yelena stares at me, nibbling her lip, then whispers, ‘A message for the Partisans. Stuff about where the Germans have their headquarters and when their trains are travelling and where they store their ammunition.’ ‘Why?’ ‘So the Partisans can blow them up.’ Yelena grabs my arm. ‘But don’t tell anyone. It’s a secret.’ ‘What’s a secret?’ I ask. ‘The message.’ ‘What message?’ I say, my eyes wide. Yelena laughs. ‘Good boy, Sasha.’ My belly swells with pride. I know how to play this game. ‘How are your knots coming along?’ asks Yelena. ‘Good! Yesterday, I crept into the dairy and tied knots in the apron strings of all the girls who were milking and only one of them noticed. Today, I tied Olga’s ankles together with Mama’s embroidery thread and just now, while you were taking a bath, I tied the sleeves of your blouse together in an enormous knot.’ Yelena rolls her eyes, then says, ‘I’ll see if I can find you some rope for practising.’ ‘Practising what?’ I ask. ‘Your knots,’ she says. ‘What knots?’ Yelena, my big sister who is twelve and always serious t

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