I said: "Nowhere in Mexico am I so happy and contented as in this house." And I was prepared to go further.
For the next hour I took photographs of General Urbina: General Urbina on foot, with and without sword; General Urbina on three different horses; General Urbina with and without his family; General Urbina’s three children, on horseback and off; General Urbina’s mother, and his mistress; the entire family, armed with swords and revolvers, including the phonograph, produced for the purpose, one of the children holding a placard upon which was inked: "General Tomas Urbina R."
We had finished breakfast and I was resigning myself to the ten days in Las Nieves, when the General suddenly changed his mind. He came out of his room, roaring orders. In five minutes the house was all bustle and confusion,—officers rushing to pack their serapes, _mozos_ and troopers saddling horses, peons with armfuls of rifles rushing to and fro. Patricio harnessed five mules to the great coach,—an exact copy of the Deadwood Stage. A courier rode out on the run to summon the Tropa, which was quartered at the Canotillo. Rafaelito loaded the General’s baggage into the coach; it consisted of a typewriter, four swords, one of them bearing the emblem of the Knights of Pythias, three uniforms, the General’s branding-iron, and a twelve-gallon demijohn of _sotol_.
And there came the Tropa, a ragged smoke of brown dust miles along the road. Ahead flew a little, squat, black figure, with the Mexican flag streaming over him; he wore a floppy sombrero loaded with five pounds of tarnished gold braid,—once probably the pride of some imperial _hacendado_. Following him closely were Manuel Paredes, with riding boots up to his hips, fastened with silver buckles the size of dollars, beating his mount with the flat of a saber; Isidro Amayo, making his horse buck by flapping a hat in his eyes; José Valiente, ringing his immense silver spurs inlaid with turquoises; Jesus Mancilla, his flashing brass chain around his neck; Julian Reyes, with colored pictures of Christ and the Virgin fastened to the front of his sombrero; a struggling tangle of six behind, with Antonio Guzman trying to lasso them, the coils of his horsehair rope soaring out of the dust. They came on the dead run, all Indian shouts and cracking revolvers, until they were only a hundred feet away, then jerked their little cow-ponies cruelly to a staggering halt with bleeding mouths, a whirling confusion of men, horses and dust.