The God of the Hive - Laurie R. King [110]
But before he had disappeared from view, those mourners unable to keep their eyes from following saw him jerk to a halt. He put out both hands, in a manner strongly reminiscent of a constable directing traffic, but his authority was insufficient: The music came nearer, and louder.
And then it was upon them, a marching band of all the loudest, most discordant instruments in an orchestra: tubas, trombones, and French horns (all of them ever-so-slightly out of tune) tootled along with not one, but two large drums (beat nearly in rhythm), a phalanx of flutes, clarinets, and piccolos, and a short pot-bellied man dwarfed by an enormous pair of brass cymbals.
At the front, marching high-kneed with an enormous, sparkly, bulbous red baton, was a wiry blond man wearing Victorian mourning clothes, an oversized fedora with a feather, and an expression of devout religiosity more suited to a cathedral choir. But even the trappings could not hide the sparkle of mischief that shone out from the green eyes, brighter than the flashes of sunlight off his oversized baton.
Those around the graveside panicked. The men clapped their hats on their heads; the women drew together. The priest, thinking to hurry matters along, raised his voice to declare, “Man, that is born of woman,” but quickly realised the futility of his effort. He snapped shut his book and stepped forward to protest.
Without effect. The band finished their tune and immediately launched into the next—rather, they launched into two different tunes. It took several bars before the players of one melody dropped out, scrambling to find their place in the dominant one. The blond man stood with his back at the brink of the hole and pumped his baton with great enthusiasm and no sense of tempo whatsoever. The young man who had been sent to stop them returned to the man with the sandy hair and spoke—shouted—into his ear. The man bent to listen, then threw up his hands and strode over to address the blond conductor, with no result.
The threescore similarly dressed latecomers looked around at each other, at the original mourners, and at the musical invaders. They seemed mightily confused.
The heavily veiled woman broke first. With the handkerchief to her face, she turned and ran, stumbling in her heels over the close-cropped grass until she reached a path, when her gait settled into a brisk march, head down. She had made it as far as the nearest tree when a hard-faced man stepped out and ripped off her veil. She struggled, got one arm free, and swung the hand at her assailant’s already bruised face with a resounding slap. He retaliated by shoving her face-first against the tree-trunk, grabbing her wrist, and fumbling with a pair of handcuffs.
The sandy-haired man saw what was happening and broke into a run to interfere; his young companion followed on his heels; the band, responding to the increased gesturings of the blond man, enthusiastically notched up its tempo and its volume.
As if a switch had been thrown, half a dozen of the original mourners were infected with the urge for rapid retreat. Five others followed on their heels. The look-alike men and women glanced at each other, at the coffin, and at the band before they, too, shifted away from the proceedings, slowly at first, then more quickly, until eighty-some people were fleeing the epicentre of the disturbance, like ants from a stirred nest.
The priest, torn between his congregation and his corpse, chose the living, abandoning the coffin to the brass band, its blond director, and the burly man who had ostentatiously smoothed his hair.
In a wide circle around the gravesite, the twelve hard-faced men had their hands full. A few of them managed to handcuff some of the look-alikes and were drawing them towards the grave. The band played on, loud and joyous and discordant. The burly man scowled at the bandleader, then turned on his heel, noticing the approach of several of his fellows dragging