Garza stepped away from the window, strode to his desk, and pressed a button on the remote. Shades descended from the ceiling, muting the noonday sun; in the ceiling, recessed lighting glowed to life, illuminating the burgundy carpet and heavy wooden furniture. Like the rest of Garza's life, his office reflected his Mexica heritage. Tapestries and paintings depicting Aztec history lined the walls. Here, a twelve-foot-long, hand-painted codex detailing the founding of Tenochtitlan on a marshy island in Lake Texcoco; over there, a painting of the Aztec goddess of the moon, Coyolxauhqui; across the room above the fireplace, a floor-to-ceiling tapestry showing Huitzilopochtli, the "Hummingbird Wizard," and Tezcatlipoca, the "Smoking Mirror," in union, watching over their people. On the wall above his desk was an oil painting of Chicomoztoc--"the Place of Seven Caves"--the legendary source of all Nahuatl-speaking peoples.

None of these, however, kept him awake at night. That honor belonged to the artifact standing in the corner of the room. Perched atop a crystal pedestal in a cube of half-inch-thick glass was Quetzalcoatl, the feathered serpent god of the Aztecs. Of course, depictions of Quetzalcoatl were commonplace--on pottery and tapestries and in a multitude of codices--but this representation was unique. A statuette. The only one of its kind. At four inches tall and seven inches long, it was a masterwork carved by unknown hands a millennium ago from a chunk of nearly translucent jade.

Garza walked around his desk and sat in the chair before the pedestal. Quetzalcoatl's surface, lit from above by an inset halogen bulb, seemed to swirl, forming mesmerizing shapes and pools of color that were at once there and not there. Garza's eyes drifted back along Quetzalcoatl's plumes and scales until coming to rest on the tail--or where the tail should have been, he corrected himself. Instead of tapering to a traditional serpent's tail, the statuette widened for a few inches before ending abruptly in a jagged vertical line, as though it had been cleaved from a larger artifact. This was, in fact, the theory Garza's scientists had put forth. And a theory he had worked hard to suppress.