credit From left: The Bridgeman Art Library; Art Resource
credit photograph by Jeff Sciortino - Mark Rosheim-roboticist, inventor, da Vinci devotee-holds his reconstruction of Leonardoés cart in his Minnesota home.
credit photograph by Jeff Sciortino - Rosheimés Codex Atlanticus, purchased from Christieés, open to folio 812 recto portraying the da Vinci device.
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I imagined the road to unraveling a 500-year-old Leonardo da Vinci mystery would take me down rain-slicked flagstones in the crepuscular shadow of a glowering Tuscan cathedral, or perhaps through the mote-strewn catacombs of a Florentine palazzo. Instead, my first stop is a prim brick colonial on a broad, verdant thoroughfare in suburban St. Paul, Minnesota. I pull into the driveway and come to a stop in front of a tin-can robot standing astride the porch.
'My mother made it for me,' explains Mark Rosheim, a roboticist who has produced designs for NASA and Lockheed Martin. His living room is dominated by two hulking cabinets, each filled with oversize editions of da Vinci codices. It is, the owner suggests with the slightest bravado, 'the largest collection of Vinciana in the Midwest.' He points to one set, a dozen volumes of the Codex Atlanticus, the thousand-page collection of drawings that is da Vinci's best-known work. 'I got that one from Christie's in London through a telephone bid,' he says. 'That was before eBay. The auction was at 4 in the morning. It was very exciting.'
What Is The Da Vinci Code Secret
On one wall, there is a family picture frame with a series of oval and square photos. 'This is the whole Mark Rosheim saga,' he says. His father's drugstore. His computer science-trained brother. His grandfather, a pioneering dentist who owned the first x-ray machine in Story City, Iowa. And Rosheim at a Cub Scout gathering at age 9. He is dressed as a robot.
As we tour the house, I get the feeling that Rosheim is not simply interested in studying da Vinci, but that he would like to be da Vinci. There are certain parallels. Da Vinci was self-taught and often referred to himself as an omo sanze lettere - a man without letters; Rosheim is a high school dropout. Da Vinci was apprenticed to Andrea del Verrocchio's workshop at age 15; Rosheim filed for his first patent - for a hydraulically powered servomechanism - at age 18. Da Vinci was determined to understand the architecture of the human body. By the time he was 65, he had dissected the corpses of more than 30 men and women of all ages. Rosheim is a student of kinesiology who has paid particular attention to the human wrist. In a basement workshop, he shows me a prototype of his Omniwrist, a joint that can move in any direction across a full hemisphere, without gears.
In the early 1990s, Rosheim's twin passions of da Vinci and robotics fatefully converged. After an Italian scholar showed Rosheim some recently recovered da Vinci drawings, Rosheim took a fresh look at what had been dubbed 'Leonardo's automobile,' a wooden three-wheeled cart. Da Vinci enthusiasts have reconstructed the automobile several times during the past century, but it's never worked. The device seemed destined to join the ranks of da Vinci's grandiose but flawed inventions - what one scholar called his 'impossible machines.'
Episode List. Frank Cannon and Barnaby Jones investigate the rape and murder of a young woman who was about to blow the. Season 4| Season 5. Arrow tv show episode guide. 1970-1982 Episode Guide for 'Cannon'. (Episodes with dates prior to 1970 aired as reruns.) September 14, 1971: Salinas Jackpot Season 1, episode 1. Jump to Episode list - Season, Episodes, Originally aired, Nielsen ratings. First aired, Last aired, Rank, Rating, Tied with. Pilot, 1, March 26, 1971. Jump to Season 1: 1971–72 - Main article: Cannon (season 1). In season, Title, Directed by, Written by, Original air date. 1, 1, 'The Salinas. Frank Cannon is an overweight, balding ex-cop with a deep voice and expensive tastes in culinary pleasures; he becomes a high-priced private. Episode Guide. In all five seasons, the credits are shown in capital and lower case letters.
To Rosheim, the machine was hardly impossible. Immersing himself in the minutiae of each sketch, gleaning inspiration from inventions that came later, he concluded that the device was not simply a spring-powered cart - as novel as that might be for 1478 - but something more radically innovative. Da Vinci's automobile, Rosheim maintains, is actually a robot with its own set of programmable instructions. This 'precursor to mobile robots,' Rosheim suggests, might even be 'the first record of a programmable analog computer in the history of civilization.'
The notion that da Vinci was some sort of proto-computer geek is not as far-fetched as it sounds. In a 1996 article in the journal Achademia Leonardi Vinci, Rosheim offered compelling historical and mechanical evidence that da Vinci had designed - and perhaps built - automata. Rosheim pointed to da Vinci's so-called Robot Knight, a cable-and-pulley-driven artificial man, which had been thought to be a simple suit of arms. Citing drawings discovered decades earlier by Italian scholar Carlo Pedretti, Rosheim explained how the figure 'sat up, waved its arms, moved its head via a flexible neck, and opened and closed its anatomically correct jaw - possibly emitting sound while accompanied by automated musical instruments such as drums.'
The robot, the theory goes, may have been commissioned by the Sforza rulers as court entertainment or an exhibit in a kind of mechanical sculpture garden. A finished drawing of the knight has never been recovered, but Rosheim, armed with mechanical aptitude and a strong knowledge of the history of robotics, was able to extrapolate its use from a patchwork of drawings. Paolo Galluzzi, director of Florence's Institute and Museum of the History of Science, described Rosheim's robot thesis as 'absolutely convincing.' Galluzzi included the knight in an exhibition and commissioned Rosheim to create a computer model. In 2002, Rosheim was invited by the BBC to build a prototype. His model was able to walk and wave - proving Rosheim's theory once and for all.
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What Is The Da Vinci Code
Vindicated, Rosheim revisited other da Vinci machines. His searching led to a 1975 article written by Pedretti, the same scholar who had done pivotal research on the knight. The article presented Pedretti's analysis of a new sheet of drawings discovered in a collection at Florence's Uffizi. They were sketched by an anonymous 16th-century draftsman but included copies of da Vinci's technological studies. Pedretti focused on one sketch that clearly outlined the function of the arbalest-like springs in the depiction of da Vinci's baffling three-wheeled cart. They were, he realized, not for power, as earlier scholars had thought, but for steering. Like an escapement mechanism for clocks, the springs retained movement but didn't generate it. He concluded that the movement must come from somewhere else. So Pedretti looked back at da Vinci's original drawing and noticed a faint circle in the center of one of the car's toothed gears. The little circle, he believed, was almost a suggestion to look for something transparent, something beneath the cart.
Perhaps there were larger coil springs, hidden inside the tambours, that would drive the cart.
I take all this in at Castel Vitoni, Pedretti's magisterial Italian estate, which commands a view of the Tuscan valley, including - not accidentally - the pastoral town of Vinci, Leonardo's birthplace. We sit in his office and pore over sketches of the cart on folio 812 recto of the Codex Atlanticus. I reach carefully for the espresso his wife has placed on the table, trying not to spill any on a nearby copy of the Italian mathematician Bernadino Baldi's 1589 translation of Heron of Alexandria's Automata. It is a first edition.
The sketch of the cart is not particularly impressive to look at. On the top of the page is a crudely drawn wagon with some sort of gear mechanism. The bulk of the page is dominated by a closer view of that mechanism, which combines a crossbow-like arbalest with the grooved gears and verge-and-foliot apparatus found in medieval clocks. On the periphery of the page, as on many Codex pages, there are details of component parts.
Though Pedretti had uncovered fragments of robot designs in da Vinci's sketchbooks, he couldn't figure out how they fit together. Rosheim, who had started corresponding with Pedretti after meeting him in 1993, began developing a CAD reconstruction and faxing documents to Pedretti at night. It was like a fill-in-the-blanks puzzle. 'There's nothing saying, This is an automaton,' Rosheim recalls, explaining how he contrived a robot. 'I'm working with napkin sketches. It's very fragmentary stuff - otherwise it would have been done centuries ago.' To divine what the artist envisioned for the cart's undercarriage, Rosheim tried to internalize the da Vinci method, studying myriad other drawings 'to load it up into my subconscious' and inventing 'an internal calculus to try and figure out everything.'
One of the biggest breakthroughs, strangely enough, came not from da Vinci's own work but from a drawing Rosheim had of a karakuri, an 18th-century Japanese tea-carrying automaton (often resembling a geisha) - the Sony Qrio of shogunate Japan. The movement of the karakuri was determined by the placement of cams, small appendages on a wheel or shaft that engage a lever and convert rotary power to linear power. (Cams are still found in today's car engines.) Looking at the karakuri, Rosheim thought that da Vinci's cart might contain a similar arrangement. Sure enough, he found small camlike protrusions attached to one of the toothed wheels in da Vinci's drawing. The karakuri seemed to provide the missing link to understanding the cart's undercarriage - a perspective not shown in the sketches.
Rosheim's epiphany answered questions he'd been unable to resolve: How did the escapement work? How did you regulate the speed - in other words, the clock of the computer? How did that connect to the rest of the drivetrain? Once you understand the cams, the faint circles underneath the middle of the frame of the perspective view suddenly make sense, he says. 'Obviously, they connect to one of those levers that's cam-controlled.' The inspiration may have come from 18th-century Japan, but Rosheim says his ideas - unlike previous reconstructions - mesh perfectly with da Vinci's original design.
So here you had a small, front-wheel-drive cart no more than 20 inches square - many Codex illustrations are one-to-one scale fabrication drawings - that could, on the basis of spring-loaded power, be triggered via remote control and run a specific course, turning in a programmed direction at a certain point and perhaps even executing a 'special effect' or two. What on earth was it for?
If Rosheim was able to supply the how of da Vinci's robot cart, Pedretti could offer a why: court entertainment. Da Vinci, he says, would have been 26 when he built the cart. It was 1478, and Florence was especially volatile: The Pazzis were conspiring against the reigning Medici family (da Vinci sketched the hanged Bernardo Bandini, who murdered Giuliano de Medici during the plot). The historical record offers no mention of da Vinci having built a cart. Pedretti, however, unearthed a potential clue. 'I found a fantastic document, date 1600,' Pedretti says. 'It's a description of a banquet held in Paris to honor the new queen of France, who was a Medici. On that occasion, Michelangelo Buonarroti the Younger observed the presentation of a mechanical lion. It walked, opened its chest, and in place of a heart it had fleurs-de-lis.' Pedretti pauses, gathering more papers. 'This document, which was totally unknown, says this was a concept similar to one that Leonardo carried out in Lyons on the occasion of Francis I.' It appears da Vinci had engaged in high tech diplomacy circa 1515.
The cart, suggests Pedretti, may have been an early study in an emerging da Vinci sideline. Leonardo, he believes, created animated spectacles centuries before the great age of the European automata of Jacques de Vaucansan and Wolfgang von Kempelen. 'The irony of the whole thing is that there is not a single hint in Leonardo's manuscripts of this greatest technological invention,' Pedretti says. 'Imagine to have a lion walk and stand on its legs and open up its chest - this is top technology!' What happened to those pages of drawings that would have revealed the inner workings of these wondrous devices? Perhaps they lie misfiled in some lost archive; perhaps they were destroyed by some church authority in the manner of Albertus Magnus' mechanical woman, smashed by Thomas Aquinas as a work of the devil.
Half a millennium on, the cart could, says Rosheim, not only rewrite the history of robotics but also bring another da Vinci to light: da Vinci the roboticist. 'If it was simply a spring-powered cart, it would not be that big a deal,' he says. 'What's significant is that you can replace or change these cams and alter how it goes about its path - in other words, it's programmable in an analog, mechanical sense. It's the Disney animatronics of its day.' The individual parts, interestingly, are not original to da Vinci - gears, cams, and the verge-and-foliot mechanism were all familiar concepts, particularly to clockmaking, the nanotech of da Vinci's day. Indeed, as the historian Otto Mayr has noted, 'clocks and automata, in short, tended to be very much the same thing'; clocks, in 16th-century dictionaries, were considered just one type of automata. But the possibility is that da Vinci married two ideas and created, in essence, a clock on wheels - turning the segmenting of time into the traversing of space - well before anyone else had thought of such a thing. No one could have done it as elegantly, in so compact a package, says Rosheim. 'The robot cart is one of the most significant missing links in studying Leonardo. Suddenly, many drawings are making sense.'
Just down the road from Pedretti's villa, I sit for an hour staring at two wooden models of da Vinci's three-wheeled machine at the Vinci's Leonardo Museum. The reconstructions were built by the Milanese design firm Studio DDM, working with a Florentine carpentry shop. After weeks of peering at the faded filigree of ancient manuscripts, I find it strange to see da Vinci's drawings in three dimensions. The models look at once primitive and complex, like out-of-time machines, steampunk for the Middle Ages.
'A lot of people say that Leonardo's machines will not work,' says DDM's Mario Taddei the next day, as we gaze at his laptop. We are sitting in a Florence café overlooking the Arno, a body of water da Vinci had once proposed rerouting to the sea. 'Half of them are perfect, half are not so perfect.' Taddei, who's interested in blending the world of historical museums and videogames, is showing me CAD drawings of the robotic cart. 'The design was so perfect,' Taddei says, 'that the first time we built the machine and charged the spring engine, it worked perfectly - something very strange in the world of Leonardo reconstructions.' Taddei credits Rosheim for the central idea of cam-driven programmability and says his team used Rosheim's drawings, making subtle changes along the way.
Rosheim had only one comment on the reconstruction: 'They apparently didn't figure out how the escapement mechanism works, because theirs just kind of runs really fast and then runs out of steam.' When I speak with him several weeks later, he is nearing completion on his own reconstruction, which he has been building in his basement with his own money. The model, along with another 'top secret' reconstruction, will accompany his book, Leonardo's Lost Robots. He tells me his model backs up the theory of his original drawing. 'As you see in Codex Atlanticus folio 812, Leonardo has one half of the right large gear with cams and the other half with none. This generates a left-right zigzag motion.'
Whatever the minor technical differences between Rosheim's vision and the handiwork of the builders at DDM, the cart provides further evidence that da Vinci was a Renaissance roboticist. Of course, absent the complete drawings of the cart, we will never know exactly what da Vinci had in mind. The cart will remain among his many inventions and artworks that plague scholars the world over. It's ultimately part of that grand guessing game: Who was Mona Lisa? Why did da Vinci leave Florence for Milan? Why did he not complete The Adoration of the Magi or any number of other major commissions? Was his glider ever launched?
'Leonardo is the Hamlet of art history,' says art historian Kenneth Clark, 'whom each of us must re-create for ourself.' Da Vinci has been credited with inventing just about everything but the Internet. Now, from the faintest of sources, an American roboticist and an Italian Renaissance scholar have discovered another Leonardo: The creator of Hollywood-style special effects, perhaps even a lost progenitor of the programmable computer, is coming into frame.
Tom Vanderbilt ([email protected]) is the author of Survival City: Adventures Among the Ruins of Atomic America.
EditSummaries
A murder inside the Louvre, and clues in Da Vinci paintings, lead to the discovery of a religious mystery protected by a secret society for two thousand years, which could shake the foundations of Christianity.
Dan Brown's controversial best-selling novel about a powerful secret that's been kept under wraps for thousands of years comes to the screen in this suspense thriller from Director Ron Howard. The stately silence of Paris' Louvre museum is broken when one of the gallery's leading curators is found dead on the grounds, with strange symbols carved into his body and left around the spot where he died. Hoping to learn the significance of the symbols, police bring in Sophie Neveu (Audrey Tautou), a gifted cryptographer who is also the victim's granddaughter. Needing help, Sophie calls on Robert Langdon (Tom Hanks), a leading symbolized from the United States. As Sophie and Robert dig deeper into the case, they discover the victim's involvement in the Priory of Sion, a secret society whose members have been privy to forbidden knowledge dating back to the birth of Christianity. In their search, Sophie and Robert happen upon evidence that could lead to the final resting place of the Holy Grail, while members of the priory and an underground Catholic society known as Opus Dei give chase, determined to prevent them from sharing their greatest secrets with the world.
Professor Robert Langdon is in Paris on business when he's summoned to The Louvre. A dead body has been found, setting Langdon off on an adventure as he attempts to unravel an ancient code and uncover the greatest mystery of all time.
The story tells the investigation started by symbolist Robert Langdon and a good-looking cryptologist, Sophie Neveu, around the murder of a Museum Louvre's curator. In fact, the unfortunate murdered man was Sophie's grandfather, and the corpse was found with a series of symbols and codes, like a pentagram and a Fibonacci number sequence. But police detective Fache will begin to chase Langdon, who escapes after receiving a warning about the captain's real intentions. Sophie has with her a kind of key with dots and number 24 engraved on it, which opens to her and Langdon a big complex investigation that involves a supposedly heretic theory: Jesus Christ and Mary Magdalene were, in fact, a couple who produced a daughter named Sara. A millenarian sect called The Priory of Sion has kept for centuries the secret of that matter. A masochist and kind of psychopath albino monk, Sibilas, an Opus Dei member, will chase Langdon and Sophie as well, in order to impede that they solve the mystery of Christ and Mary Magdalene, and also the real meaning and location of the Holy Grail. A passionate British researcher, will help Langdon in his quest, revealing to them several symbolisms in Da Vinci's master work The Last Supper, traveling to mythical places in the U.K., such as The Church Temple, where it is believed that a group of Templars Knights are buried, and Sir Isaac Newton's tomb at Westminster Abbey, where are located some of the main keys to solve the Holy Grail's mystery.
When respected American religious symbology expert Dr. Robert Langdon is summoned to the Louvre by the French version of the F.B.I., led by Captain Bezu Fache, he soon discovered that he is the number one suspect for the murder of a historian Langdon had been scheduled to meet. Assisted by a French cryptographer and government agent named Sophie, Langdon is challenged to decipher a chain of cryptic codes and puzzles, all the while trying to stay ahead of Fache's lawmen in a chase through the Louvre, and out into the Parisian cityscape, and finally across the channel to England. Can Langdon and Sophie decipher the nature of a secret dating back to Leonardo Da Vinci and earlier before those responsible for the historian's murder add them to their hit list?
While in Paris on business, Harvard symbologist Robert Langdon is informed that the elderly curator of the Louvre has been murdered inside the museum. Near the body, police have found a baffling cipher. Solving the enigmatic riddle, Langdon is stunned to discover it leads to a trail of clues hidden in the works of Leonardo Da Vinci, clues visible for all to see, and yet ingeniously disguised by the painter. Langdon joins forces with a gifted French cryptologist, Sophie Neveu, and learns the late curator was involved in the Priory of Sion, an actual secret society. In a breathless race through Paris, London and beyond, Langdon and Neveu match wits with a faceless power broker who appears to work for Opus Dei, a clandestine, Vatican-sanctioned Catholic organization believed to have long plotted to seize the Priory's secret. Unless Langdon and Neveu can decipher the labyrinthine puzzle in time, the Priory's secret, and a stunning historical truth, will be lost forever.
Spoilers
What Is The Da Vinci Codex
Synopsis
- A man revealed to be Jacques Saunière is being pursued by a mysterious hooded character known as Silas through the Grand Gallery in the Louvre in Paris. (Silas is later revealed to be a member of the ultra-conservative Catholic sect called Opus Dei that wishes to annihilate a secret society called the Priory of Sion, who is sworn to protect the Holy Grail. Proof that the Grail exists would ultimately reveal a devastating secret that would undermine the fundamental teachings of the Roman Catholic Church.) Silas demands the location of the Priory's clef de voûte or 'keystone.' Under threat of death, Saunière finally confesses that the keystone is kept in the sacristy of Church of Saint-Sulpice, 'beneath the Rose.' Silas thanks him, and then shoots him in the stomach.
Meanwhile, American symbologist Robert Langdon (Tom Hanks), who is in Paris as an AUP guest lecturer on symbols and the sacred feminine, is contacted by the French police, and summoned to the Louvre to view the crime scene. He discovers that the dying Saunière had created an intricate display using his own body and blood. Captain Bezu Fache (Jean Reno) asks him for his interpretation of the puzzling scene. Langdon determines that the pentacle drawn on the stomach and the way the body was posed was similar to Leonardo da Vinci's drawing of the 'Vitruvian Man.' A cryptic message, written in blood, is found next to the body. It begins with the Fibonacci sequence of numbers, but not in the correct order.
Silas calls a mysterious man known as 'The Teacher', revealing that he has killed all four protectors of the keystone and that all confirmed the same location. He dons a metal cilice on his thigh and proceeds to flagellate himself with a whip for the sins of murder. Facilitated by Bishop Manuel Aringarosa, Silas then travels to Saint-Sulpice and is admitted by an elderly nun; left alone, he excavates beneath the floor of the church to find a stone saying only JOB 38:11. He confronts the nun, who quotes the passage: 'Hitherto shalt thou come, but no further.' Realizing that he has been deceived, Silas is enraged and kills the nun.
Sophie Neveu (Audrey Tautou), a cryptologist with the French police, enters the Louvre as well and slips Langdon a message which leads him to the men's room. There, Sophie meets him and tells him that he is being tracked, a GPS tracking dot has been (unknown by him) slipped into his jacket and that he is a primary suspect in the murder case because of a line of text found by the corpse ('P.S. find Robert Langdon'). Sophie however, believes that Saunière, who is revealed to be her grandfather, wanted to pass a hidden message on to her, and that he had wanted to bring Langdon into the equation so that he could help her crack the code.
Having bought some time by removing the tracking device, the pair begin exploring the Louvre based on their deciphering the message written in blood. It turns out that the part of the message that reads O Draconian devil Oh lame saint is actually an anagram, which, when the letters are re-arranged, spells Leonardo da Vinci and The Mona Lisa. Searching near that painting, they find another encrypted message, So dark the con of man, that turns out to be an anagram for [i/Madonna of the Rocks, another da Vinci painting found at the Louvre. Near that second painting, the pair find a key with a Fleur-de-lis.
Pursued by the French police and cut off from the United States Embassy, the pair escape to the Bois de Boulogne where Langdon closely inspects the key. He notices an inscription on the side - an address. The address directs them to the Depository Bank of Zurich where the key is used for a safety deposit box.
In the bank, they find Saunière's deposit box and open it using the 10 digit Fibonacci numbers in order (1123581321). Inside the box, they find a rosewood container, which contains a cryptex: a cylindrical container with five alphabetical dials which must be arranged in the correct sequence to spell out a 5-letter code word, in order to open and access the parchment message inside. Using force to open the cryptex would break a vial of vinegar inside, which would dissolve the parchment and destroy the message.
Unfortunately, the police are called by a security guard and they are forced to leave. The bank manager, Andre Vernet, assists them in escaping by taking them as passengers in an armoured van to escape the routine checks of the police. In the back of the truck Langdon and Neveu have a lengthy discussion about the cryptex and Neveu says that her grandfather often played games with her involving cryptexes. Langdon says that the cryptex might hold valuable information or another clue about what they are trying to discover. Eventually, they come to a sudden stop and Vernet forces them at gunpoint to give him the cryptex. Langdon tricks Vernet and disarms him and he and Sophie escape with the cryptex in their hands.
Langdon suggests that they visit his friend, Leigh Teabing (Ian McKellen), for assistance to opening the cryptex. Leigh Teabing turns out to be an enthusiastic seeker of the Holy Grail, which he believes is not actually a cup ('sangreal' as in Holy Grail) but instead Mary Magdalene ('sang real' as in Royal Bloodline), who was driven away because Jesus's followers didn't want to follow a woman after their leader was killed. Mary was pregnant at the time, and Teabing tells Sophie that a secret society--the Priory of Sion along with its military arm, the Knights Templar--was formed to protect the descendants of Jesus. Jacques Saunière was believed to be a part of this society and Teabing suspects that he was training Sophie to join it also. Silas, meanwhile, breaks into Teabing's mansion and attempts to steal the cryptex. Teabing uses his cane to knock Silas out and they escape again, taking the butler, Remy Jean, and Silas with them.
The group escapes in Teabing's plane, following the next clue to London. This clue was found underneath the rose carved on the wooden box containing the cryptex. The message, which had to be read using a mirror, refers to 'a knight a pope interred.' Having barely slipped away from the London police (who were tipped by the French that fugitives were on board Teabing's private jet), Langdon and Sophie forego a visit to the library and, instead, use a fellow bus passenger's smartphone to do an internet search on keywords mentioned in the clue. The search results made them realize that the pope referred to Alexander Pope, who wrote the epitaph of Sir Isaac Newton (the knight). This leads them to Newton's tomb at Westminster Abbey.
The small pyramid beneath the Inverse Glass Pyramid removed from underneath, revealing that there is no chamber as shown in the film's closing scene. It is revealed that Remy Jean is actually a follower of The Teacher as well, however he is killed by the mysterious man after freeing Silas. Silas is attacked by the police and, in the ensuing gunfire, accidentally shoots Bishop Manuel Aringarosa. In his grief, Silas dies in police-assisted suicide and Aringarosa is taken to the hospital, as well as being arrested by Fache for betraying him.
As Langdon gets closer to solving the mystery, he is betrayed by Teabing, who is revealed to be The Teacher. Teabing explained that he wanted to find Mary Magdalene's remains to prove he was correct about the Holy Grail and threatens to shoot Sophie if Langdon does not crack the code. Langdon responds by throwing the cryptex into the air. Teabing catches it, but drops it, and it hits the ground. The vial of vinegar breaks and apparently spreads onto the document, destroying it.
After Teabing is arrested, it is revealed that Langdon had cracked the code and removed the clue from the cryptex before throwing it. The code word had something to do with an orb located somewhere on the tomb, but Langdon later realized that, 'There was every orb conceivable on that tomb except one: The orb which fell from the heavens and inspired Newtons life's work. Work that incurred the wrath of the church until his dying day. A-P-P-L-E. Apple.'
The parchment inside the cryptex had the following message: The Holy Grail 'neath ancient Rosslyn waits / The blade and chalice watch o'er her gates / Adorned by masters loving art she lies / As she rests beneath the starry skies. Using the clue, they travel to Rosslyn Chapel in Scotland where Magdalene's remains had previously been hidden. In a secret, underground chamber, Langdon notices how the clue precisely describes this chamber, but the center of the room is empty, as if Magdalene's tomb has been removed.
At the chapel, they meet other members of the secret organization that protected Mary Magdalene. It is revealed that Sophie is actually Magdalene's descendant and therefore is the current living descendant of Jesus Christ. They vow to keep her safe. As Sophie wonders if her secret should be revealed to the world despite the disappearance of Magdalene's remains (whereby DNA testing could have proven that Sophie is indeed a descendant), Langdon philosophizes that, if given a chance, would you rather destroy faith..or renew it? As Langdon and Sophie part ways, Sophie sets foot in a pond in an attempt to walk on water. Unsuccessful, she jokes, 'Maybe I'll do better with the wine.'
Back in Paris, Langdon accidentally cuts himself while shaving and the line of blood on the sink reminds him of the Rose Line. He follows the Rose Line and, realizing that the clue from the cryptex also fits this new location, he determines that the location of the Holy Grail is buried under the pyramid in the Louvre. Langdon then kneels above Mary Magdalene's tomb as the Templar Knights did before him.
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THE DA VINCI CODE
,Dan Brown's international bestseller comes alive in the film The Da Vinci Code, directed by Ron Howard with a screenplay by Akiva Goldsman. Join symbologist Robert Langdon (Academy Award® winner Tom Hanks, 1993 Best Actor, Philadelphia, and 1994 Best Actor, Forrest Gump) and cryptologist Sophie Neveu (Audrey Tautou) in their heart-racing quest to solve a bizarre murder mystery that will take them from France to England - and behind the veil of a mysterious ancient society, where they discover a secret protected since the time of Christ. With first-rate performances by Sir Ian McKellen, Alfred Molina and Jean Reno, critics are calling The Da Vinci Code 'involving'* and 'intriguing,'* 'a first rate thriller.'**
© 2006 Columbia Pictures Industries, Inc. All Rights Reserved.