Sophie felt hollow as she listened to the clicking of Teabing’s crutches fade down the hallway.
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Numb, she turned and faced Langdon in the deserted ballroom. He was already shaking his head asif reading her mind.
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"No, Sophie," he whispered, his eyes reassuring. "The same thought crossed my mind when Irealized your grandfather was in the Priory, and you said he wanted to tell you a secret about yourfamily. But it’s impossible." Langdon paused. "Saunière is not a Merovingian name."Sophie wasn’t sure whether to feel relieved or disappointed. Earlier, Langdon had asked an unusualpassing question about Sophie’s mother’s maiden name. Chauvel. The question now made sense.
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"And Chauvel?" she asked, anxious.
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Again he shook his head. "I’m sorry. I know that would have answered some questions for you.
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Only two direct lines of Merovingians remain. Their family names are Plantard and Saint-Clair.
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Both families live in hiding, probably protected by the Priory."Sophie repeated the names silently in her mind and then shook her head. There was no one in herfamily named Plantard or Saint-Clair. A weary undertow was pulling at her now. She realized shewas no closer than she had been at the Louvre to understanding what truth her grandfather hadwanted to reveal to her. Sophie wished her grandfather had never mentioned her family thisafternoon. He had torn open old wounds that felt as painful now as ever. They are dead, Sophie.
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They are not coming back. She thought of her mother singing her to sleep at night, of her fathergiving her rides on his shoulders, and of her grandmother and younger brother smiling at her withtheir fervent green eyes. All that was stolen. And all she had left was her grandfather.
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And now he is gone too. I am alone.
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Sophie turned quietly back to The Last Supper and gazed at Mary Magdalene’s long red hair andquiet eyes. There was something in the woman’s expression that echoed the loss of a loved one.
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Sophie could feel it too.
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"Robert?" she said softly.
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He stepped closer.
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"I know Leigh said the Grail story is all around us, but tonight is the first time I’ve ever heard anyof this."Langdon looked as if he wanted to put a comforting hand on her shoulder, but he refrained.
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"You’ve heard her story before, Sophie. Everyone has. We just don’t realize it when we hear it.""I don’t understand.""The Grail story is everywhere, but it is hidden. When the Church outlawed speaking of theshunned Mary Magdalene, her story and importance had to be passed on through more discreetchannels... channels that supported metaphor and symbolism.""Of course. The arts."Langdon motioned to The Last Supper. "A perfect example. Some of today’s most enduring art,literature, and music secretly tell the history of Mary Magdalene and Jesus."Langdon quickly told her about works by Da Vinci, Botticelli, Poussin, Bernini, Mozart, andVictor Hugo that all whispered of the quest to restore the banished sacred feminine. Enduringlegends like Sir Gawain and the Green Knight, King Arthur, and Sleeping Beauty were Grailallegories. Victor Hugo’s Hunchback of Notre Dame and Mozart’s Magic Flute were filled withMasonic symbolism and Grail secrets.
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"Once you open your eyes to the Holy Grail," Langdon said, "you see her everywhere. Paintings.
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Music. Books. Even in cartoons, theme parks, and popular movies."Langdon held up his Mickey Mouse watch and told her that Walt Disney had made it his quietlife’s work to pass on the Grail story to future generations. Throughout his entire life, Disney hadbeen hailed as "the Modern-Day Leonardo da Vinci." Both men were generations ahead of theirtimes, uniquely gifted artists, members of secret societies, and, most notably, avid pranksters. LikeLeonardo, Walt Disney loved infusing hidden messages and symbolism in his art. For the trainedsymbologist, watching an early Disney movie was like being barraged by an avalanche of allusionand metaphor.
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Most of Disney’s hidden messages dealt with religion, pagan myth, and stories of the subjugatedgoddess. It was no mistake that Disney retold tales like Cinderella, Sleeping Beauty, and SnowWhite—all of which dealt with the incarceration of the sacred feminine. Nor did one need abackground in symbolism to understand that Snow White—a princess who fell from grace afterpartaking of a poisoned apple—was a clear allusion to the downfall of Eve in the Garden of Eden.
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Or that Sleeping Beauty’s Princess Aurora—code-named "Rose" and hidden deep in the forest toprotect her from the clutches of the evil witch—was the Grail story for children.
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Despite its corporate image, Disney still had a savvy, playful element among its employees, andtheir artists still amused themselves by inserting hidden symbolism in Disney products. Langdonwould never forget one of his students bringing in a DVD of The Lion King and pausing the film toreveal a freeze-frame in which the word SEX was clearly visible, spelled out by floating dustparticles over Simba’s head. Although Langdon suspected this was more of a cartoonist’ssophomoric prank than any kind of enlightened allusion to pagan human sexuality, he had learnednot to underestimate Disney’s grasp of symbolism. The Little Mermaid was a spellbinding tapestryof spiritual symbols so specifically goddess-related that they could not be coincidence.
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When Langdon had first seen The Little Mermaid, he had actually gasped aloud when he noticedthat the painting in Ariel’s underwater home was none other than seventeenth-century artistGeorges de la Tour’s The Penitent Magdalene—a famous homage to the banished MaryMagdalene—fitting decor considering the movie turned out to be a ninety-minute collage of blatantsymbolic references to the lost sanctity of Isis, Eve, Pisces the fish goddess, and, repeatedly, MaryMagdalene. The Little Mermaid’s name, Ariel, possessed powerful ties to the sacred feminine and,in the Book of Isaiah, was synonymous with "the Holy City besieged." Of course, the LittleMermaid’s flowing red hair was certainly no coincidence either.
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The clicking of Teabing’s crutches approached in the hallway, his pace unusually brisk. When theirhost entered the study, his expression was stern.
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"You’d better explain yourself, Robert," he said coldly. "You have not been honest with me."