Notice that clicking at various locations on the yellow line yields vectors of the same length (amplitude) but differing directions (phase). Notice also that closely space paths going through the peripheral regions of the yellow line have quite different directions and so tend to cancel each other in the sum while closely spaced paths toward the center have similar directions and so tend to reinforce one another in the sum. As a result, the sum over a large number of paths is dominated by the central vectors (those show in black) and the more peripheral vectors (those shown in grey) have less effect on the sum.
For more massive particles the width of the set of black paths will be thinner, and for objects as massive as say a penny, any primary contributing path is so close to the classical path that we can't tell the difference. Quantum mechanics then explains both behavior at the microscopic scale and events in our everyday lives as the limiting case for large, massive objects.
To be sure you understand this, do some more playing around. You can more quickly add vectors by clicking any of the red buttons. Each time you click these, or the yellow line, vectors will be added to those already present. Click "Clear Paths" to start a new sum. Play around and get a feeling for what happens when you sum a lot of different paths.
Do nearby paths have vectors that cancel out? Or is it the paths symmetrically placed about the center that cancel? Check out the "Up Paths" and "Down Paths" butttons o help think about this. A selection of "Up Path" vectors add to produce a total "up vector" shown in red. A selection of "Down Path" vectors yield a total "down vector". Notice that the up and down path vectors are interleaved. Hence, it is vectors for nearby paths, rather than vectors from paths symmetrically placed about the opening, that cancel each other.
With all this, you should at this point have the feeling that summing over all paths yields a vector (amplitude and phase) whose value is largely determined by a subset of the paths. This is, in fact, rigorously provable, not only for the kinds of paths illustrated here but for ALL conceivable paths, including ones that zig-zag any number of times between the source and the screen and even ones that reverse directions.
You should also be wondering what any of this has to do with what actually
appears on the screen when you let electrons fly to it from a source. Is
it the amplitude or the phase that represents how likely we are to find
an electron at any given point on the screen? It turns out that both are
relevant, as we will begin to see in the next section.