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The wind began to rise around him, the tiny maelstroms of dust spinning and merging into each other. The air went damp. Then dry. Then damp again until his skin raged to crawl off his bones, rippling with the wind and the electric charges, the clouds growing bloodier, the smell of the air thickening, his tongue growing pasty and numb.
Ibrahima felt one with the voices, one with their finite eternity, and for a moment, felt peace. For the tiniest fraction of a moment, all his pain was alleviated, he was the voices too, the laughter of his ancestors.
Clean water was easy enough to come by if you had the yuan. The shantytowns surrounding IKapa had developed an economy of their own, reliant on water Wallas, and a host of bottom feeders with more courage than scruples.
Every fiber of his being yearned for his family. He had pushed himself up and desperately tried to follow the beam who, guided by the primal rage that he had shared with the force, had zeroed in on his loved ones.
It was towards the close of the fifth or sixth month of his seclusion, and while the pestilence raged most furiously abroad, that the Prince Prospero entertained his thousand friends at a masked ball of the most unusual magnificence. It was a voluptuous scene that masquerade.
It was in this apartment, also, that there stood against the western wall, a gigantic clock of ebony. Its pendulum swung to and fro with a dull, heavy, monotonous clang; and when its minute-hand made the circuit of the face, and the hour was to be stricken, there came forth from the brazen lungs of the clock a sound which was clear and loud and deep and exceedingly musical, but of so peculiar a note and emphasis that, at each lapse of an hour, the musicians in the orchestra were constrained to pause, momently, in their performance, to harken to the sound; and thus the waltzers perforce ceased their evolutions; and there was a brief disconcert of the whole gay company; and, while the chimes of the clock yet rang, it was observed that the giddiest grew pale, and that the more aged and sedate passed their hands over their brows as if in confused reverie or meditation. But when the echoes had fully ceased, a light laughter at once pervaded the assembly; the musicians looked at each other and smiled as if at their own nervousness and folly, and made whispering vows, each to the other, that the next chiming of the clock should produce in them no similar emotion; and then, after the lapse of sixty minutes, (which embrace three thousand and six hundred seconds of the Time that flies,) there came yet another chiming of the clock, and then were the same disconcert and tremulousness and meditation as before.
When the eyes of the Prince Prospero fell upon this spectral image (which with a slow and solemn movement, as if more fully to sustain its rôle, stalked to and fro among the waltzers) he was seen to be convulsed, in the first moment, with a strong shudder either of terror or distaste; but, in the next, his brow reddened with rage.
In the historic Russian Opera Season at Drury Lane, before the First World War, he showed London acting on the opera stage such as it had never seen before; he was not only a splendid tragedian but a brilliant comic actor who at home could keep a party in roars of laughter by miming to his own gramophone records of opera or silently impersonating an old cobbler mending a shoe, an old woman threading a needle or stirring soup. One of the odder features of Russian operas is that amongst their dramatis personae there is almost invariably a comic drunkard, usually, to add to the oddity, a priest and, of course, a bass. Chaliapine delighted in these parts and could play them as superbly as he played a great tragic rôle like Boris Godounov; occasionally he would demonstrate his incredible versatility by playing both tragic and comic rôles in the same performance.
All the same, his family was not immune from the difficulties and exhaustion of bearing with his rages. A family crisis during a summer spent at St. Jean de Luz made him decide to drown himself in the sea. Madame Chaliapine, perhaps a little less concerned than the ideal wife might be in such circumstances, told him that as the tide was out, he would find the operation difficult. Nevertheless, he swept determinedly from the room. After a short time, Madame Chaliapine sent Marfa to bring him back if she could, but neither she nor her daughter, nor anyone else in the household for that matter, showed any undue sign of panic. All of them had noticed that as he made his way to the beach he had carefully rolled up the legs of his trousers to keep them dry.
I returned a few hours later to find him lying in state in the Russian style, obliquely across the room from one of its corners and surrounded by flowers. He lay in evening-dress, as though resting before a concert, and was as magnificent in death as he had been in life. An ikon lay on his chest and a larger one was above his head, across the corner of the room; his expressive hands were pathetically still. His old valet, at whom I had often seen him throw things, was kneeling alone and in tears, praying at the foot of the bier.
Carol Willick (Anita Barone for the character's debut episode, Jane Sibbett thereafter) and Susan Bunch (Jessica Hecht): Carol is Ross' lesbian ex-wife, who came out before the pilot, and Susan is her partner. Carol divorced Ross to be with Susan. In the second episode of the series, Carol tells Ross that she is pregnant with his child,[e 13] and is having the baby with her partner Susan, though she wishes Ross to be part of the baby's life. Carol and Susan are often bemused by Ross' behavior throughout his onscreen appearances with them. Though Ross and Carol are on good terms after their divorce, Ross resents Susan for losing Carol to her.[e 14] Although Susan and Ross are initially, naturally enough, often at odds, they briefly put aside their differences when Carol gives birth to a boy, whom they all agree, after weeks of argument, to name Ben.[e 15] Carol and Susan announce their plans to get married in "The One with the Lesbian Wedding", but Carol's parents refuse to attend the wedding, leading Carol to doubt her decision. Ross initially hesitant to see his ex-wife remarry, finds himself in the position of being the one to encourage her to go ahead with the ceremony despite her parents' opposition. At the reception, Susan thanks Ross for his part in saving the wedding, and offers to dance with him; he agrees, apparently resolving their strained relationship.[e 16] Carol and Susan make irregular appearances until "The One That Could Have Been" (Susan),[e 11] and "The One with the Truth About London" (Carol).
When Gable auditioned for the role, she played Estelle quite plainly and was encouraged to "go away and do something with her". She returned to the audition room wearing a "fat suit" and eating a sandwich from a delicatessen, which she stubbed out a cigarette on. The performance was used in the deleted scene of "The One with the Butt".[e 63] Her age is never given but Gable believed that she was in her 80s.[34] In 2004, The Seattle Times ranked Estelle as the sixth-best guest character of the series.[26] Gable also plays the nurse who delivers Ben in "The One with the Birth".
Frank Buffay Jr. (Giovanni Ribisi): Phoebe and Ursula's half-brother by their father. In "The One with the Bullies",[e 74] Phoebe meets him after finding the courage to knock on her father's suburban door, but learns from Frank Jr.'s mother (played by Laraine Newman) that her father walked out several years ago. Despite not finding her father, she connects with Frank Jr. who later visits the city[e 75] where he hits on Jasmine, one of Phoebe's coworkers, and mistakes her massage parlor for a whorehouse. He eventually falls in love with and becomes engaged to Alice Knight (Debra Jo Rupp), his former home-economics teacher who is 26 years his senior.[e 76] In "The One With Phoebe's Uterus",[e 1] Frank and Alice ask Phoebe to be a surrogate mother for their child, and she later gives birth to their triplets, whom she then says goodbye to in an emotional scene in "The One Hundredth".[e 2] Frank makes a final appearance in "The One Where Ross is Fine",[e 77] when he and the triplets meet Phoebe at Central Perk. In the episode, he claims he "hasn't slept in four years" and is so exhausted with raising the triplets he even proposed that Phoebe take one for her own. However, he soon realizes he loves his children too much to give any of them up; Phoebe proposes to start babysitting them so that Frank and Alice can enjoy some more time off.
Stuart "Stu" (Fred Stoller): a waiter at the restaurant Allesandro's, where Monica gets a job in "The One Where They're Going to Party!" In "The One with the Girl from Poughkeepsie" (airdate December 18, 1997; season 4, No. 10), Stu leads a kitchen staff rebellion against Monica (his motivation being partly that she had written an extremely critical review of the restaurant's food and service in the paper prior to being hired to work there herself, which he and the rest of the staff had felt publicly humiliated by and partly that a member of his family lost his job after she replaced him as the head chef), locking her in a cold storage room and writing insults on her chef's hat. Monica hires Joey as a stooge so she can show her authority in front of the staff by firing him in front of them all, and the rebellion soon ends. In "The One with the Stripper",[e 78] Stu gives Monica the phone number of someone she assumes is a stripper for Chandler's belated bachelor party, though she turns out to be a prostitute. 2ff7e9595c
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