Austin led the way toward a room furnished with leather sofas and chairs. His knowledge of German was limited, but he guessed that the sign on the wall designated the area as the smoking room. They left the room and followed another corridor that led to an expansive space that seemed to be a work area. They could see a large functional table illuminated by halogen lamps, computers and several chairs that were designed more for function than comfort. Part of the room was in shadow. Austin found a wall light switch and flicked it on. The entire room was flooded with light, and both men tensed when they discovered that they were not alone. Two figures stood against the far wall, and Zavala swore in Spanish. Out of the corner of his eye, Austin saw the shotgun coming to bear.

“Wait!” he said.

Zavala lowered the gun and smiled as he studied the figures. He was looking at the mummified bodies of two men, propped up on metal stands. They stood in a natural position, arms hanging down by their sides. Their skin was as dark as leather and stretched tightly against their skulls. The eye sockets were empty, but the faces were remarkably well preserved. Austin and Zavala moved in for a closer look.

Zavala said, “I don't think these guys are the Blues Brothers.”

“I don't think they're brothers at all. Judging from their clothing, I'd say they come from different eras.”

One man was dressed in a heavy shirt and leggings of coarse ma- terial. His dark hair hung down to his shoulders. The taller man had short blond hair and wore a pro-World War II leather coat, not unlike the ones Austin and Zavala were wearing. Hanging above the mummies was a large, ragged-edged piece of aluminum. The word Nietzsche was printed on it.

Next to the mummies was a glass display case like those found in museums. Inside the case were a Leica 35mm still camera and sev- eral lenses, a Zeiss movie camera, charts of the northern hemisphere and a leather-bound book. Austin opened the case and leafed through the pages of the book. It was filled with entries in German, stopping in 1935. He stuffed the book into his pocket. He was examining a dis- play of Eskimo harpoons and knives, when Zavala called him over.

“Kurt. You've got to see this.”

Zavala had wandered over to the long ebony chest that rested on a waist-high platform. On top of the chest was a horn that looked as if it had been made from an elephant's tusk. The instrument was studded with gems and banded in gold. Austin carefully removed the horn and handed it to Zavala, who marveled at the detail of the bat- tle scenes carved into the ivory.