Since The Da Vinci Code is a film adapted from a novel, its plot is completely transparent to those who've read the book.
The story goes like this:
Harvard symbiology expert Robert Langdon, while on a business trip in Paris, becomes entangled in a murder case — the curator of the Louvre Museum has been assassinated at his own workplace. Before dying, the curator left behind a series of shocking messages, including instructions to find Langdon. As a result, the French police set their sights on him.
Upon discovering that Langdon had arranged to meet the curator before the incident — and that their meeting time perfectly overlapped with the time of death — the police began to suspect he was the killer.
At this point, the curator's granddaughter appears. She claims the dying message was meant for her, and that her grandfather wanted her to find Langdon for help, as the "P.S." in his message was actually his nickname for her. Since the police would never believe such a claim, she cleverly uses a phone message to establish contact with Langdon and explains everything in a safe location.
The two form an alliance and use a diversion to lure the police away from the crime scene, allowing them to examine the curator's message. The puzzles trigger an intellectual storm in Langdon — after some effort, he deciphers the clues and finds a key shaped like a white fleur-de-lis hidden behind the painting Madonna of the Rocks in the Louvre.
Langdon immediately identifies the key's origin: it is a token of the Priory of Sion. The curator's final message, therefore, should be hidden behind the lock this key protects — and that object is likely a world-altering secret of the Priory.
As for what the Priory of Sion is, and why they would possess such a secret — "Tongliao Khan Little John" once said: "The Priory of Sion is the oldest and most mysterious organization in the history of Catholicism. They guard the secrets God left behind on earth. Newton, Victor Hugo, and Leonardo da Vinci were all members — but all of that is completely fake. The Priory of Sion is just a wild tale fabricated by four bored men. People believe it because the story is so outrageous. It claims that the descendants of God still walk the earth."
Like many stories, The Da Vinci Code is entirely fictional. But unlike most fiction that at least cites references, even its references are invented. To put it bluntly, it is essentially fan fiction of fan fiction. Since the novel itself is fictional, the film built upon it is best enjoyed purely for fun.
The puzzle-solving — while not particularly difficult for those familiar with religion, since answers are embedded in the questions — is made thrilling by Tom Hanks' performance and Ron Howard's slick commercial direction. The fight scenes aren't as striking as those in action films, but when the grain of old film stock appears on screen, that "mark of time" effect lends the punches and kicks a strangely visceral weight. The 150-minute runtime flies by.
As the mystery of the female lead being a descendant of Jesus is revealed, cheers erupt in the theater. Isabella claps along, then turns to Anne Hathaway beside her with a smile. "The movie's pretty good. You did well too."
The praise makes Anne Hathaway beam.
"Oh — thank you — Isa — can I call you that?"
"Of course. I'll be calling you Anne too."
"Okay, Isa! Getting praise from you makes me so happy!"
"Really? Why?"
"Because your approval is the highest recognition in the industry. Who doesn't know that any project you back becomes a hit?"
"Hahahahaha!"
The flattery makes Isabella burst into laughter — she feels less like she's in Los Angeles and more like she's in Washington D.C. — where telling someone exactly what they want to hear is considered a career skill. Anne Hathaway's mastery of the art of flattery has clearly reached perfection.
Of course, Isabella understands her meaning. By bringing up "projects becoming hits," Anne is really asking whether The Da Vinci Code's success will bring her more opportunities — after all, since joining Beaver Entertainment, it is the only project she has received.
"Anne."
Seeing that the premiere host is about to take the stage, Isabella calls out quickly. Anne — the woman eight years her senior — turns her head attentively.
"Hm? Isa, what is it?"
"In the upcoming promotional events, perform well and build up your popularity — recover it, I suppose. I already have ideas for your next project, but it'll take time. Okay?"
"Oh — thank you — boss —"
Isabella's promise sends Anne into a frenzy of excitement. She leans forward, as if about to give her boss a kiss — then freezes, pulled back by reason, and settles properly into her seat.
A few years ago, Anne Hathaway had been angry at Isabella for blocking her path. But now, who could deny that Isabella holds the power to decide a person's fate in this industry? When even Rupert Murdoch had been defeated by her — forced to submit helplessly — what right did Anne, just a slightly lucky girl, have to lose her temper at the overlord of the entertainment world? One must have self-awareness.
Anne's mix of excitement and restraint doesn't escape Isabella's notice. She raises her delicate chin slightly.
"Get ready."
Like an artist directing the stage, she speaks — and the host invites the creators of The Da Vinci Code onto the stage.
Although Isabella isn't part of the main creative team and doesn't go up, as the biggest presence in the room, the host still throws her a few questions.
"Miss Haywood, do you think The Da Vinci Code met your expectations? And based on your experience, what box office do you predict?"
"I think director Ron Howard did a great job faithfully adapting the original and vividly presenting the mysterious Priory of Sion. As for the box office — I personally think it'll finish third globally this year."
"Oh my — Miss Haywood really likes this film! But why third? Couldn't it be first or second?"
"No. This year there's Harry Potter and the Goblet of Fire and The Devil Wears Prada. First and second are both mine."
The bold declaration leaves the host visibly stunned — though her reaction may be partly performed. The audience and press below, however, burst into genuine laughter. Admiring strength is human nature, and Isabella's is universally recognized. Her "arrogant" statement lands her on front pages the next day, and her prediction of third place sparks widespread curiosity about the film.
On June 2, The Da Vinci Code officially opens in North America.
Opening day: $30.63 million. Second day: $37.31 million. Third day: $31.12 million as the workweek approaches. Opening weekend total: $98.96 million — just shy of $100 million.
Compared to Harry Potter, Star Wars, or Spider-Man, it's average. But for a new IP without a comparable fanbase, the result is excellent.
Its glory lasts only one week. After earning nearly $150 million in seven days, it meets a strong competitor: Cars, released June 9, 2006. Though Cars opens to just $19.71 million on day one and $60.1 million over its first weekend — modest by Pixar standards — it still causes trouble. Once kids fall in love with Cars, The Da Vinci Code loses screening slots, and daily earnings drop to $3–4 million, with $1–2 million likely to follow.
This disappoints many. Before Cars, a $250 million domestic run seemed possible. Now, crossing $200 million would be impressive — a $50 million gap that represents very real money.
But Anne Hathaway doesn't mind. The film's success already exceeds her expectations; this one movie may outgross her entire prior career.
"Oh — Mom — I can't believe my eyes!"
In her New York home, Anne Hathaway clutches the weekly box office report, beaming at her mother.
"I knew working with Tom Hanks would bring success! But I never imagined it would come this easily! $300 million worldwide in one week? My God — that's unbelievable —"
Kate Hathaway understands her daughter's excitement. Anne has struggled for a long time. But while celebrating, she produces a fax from behind her back.
"Sweetheart, the success you've gained is even greater than you think. I've received no fewer than a hundred calls — all asking you to act. Everyone thinks your performance was excellent. This is a list of recent offers compiled by the agency. Do you want to —"
Before she can finish, Anne snatches the fax eagerly. The dense list of offers curves her eyes into crescents. The lineup of stars and directors widens her grin. She giggles for a long time before reluctantly setting the list down.
"Forget it. Reject them all."
"Huh? Why?"
Anne presses her lips, looking aggrieved — just as her mother is about to panic, she suddenly laughs.
"Because Isa told me at the premiere that she's already arranged a project for me."
"What???"
Kate Hathaway's voice shoots up like a soprano mid-aria. Her eyes go wide with shock. Only after confirming her daughter isn't lying does the shock slowly fade — replaced by glistening eyes and reddened rims.
"Oh — my dear — we really met a good person."
In Kate's eyes, Isabella is practically an angel. There isn't a single agency in the world that lays out a clear development path for its artists — not because they don't want to, but because they don't have the resources. And who in the entire global entertainment industry can match Isabella Haywood's resources? When someone who controls everything is willing to give it to others — isn't that an angel?
Margot Robbie, who had clung to her from the very beginning, is now working with Tom Cruise — the man with the highest global box office record. No one else comes close.
Isabella, however, knows nothing of the Hathaway mother and daughter's excitement. After the premiere of The Da Vinci Code, she boarded a plane home to take her exams.
She isn't nervous at all — not only because she genuinely studied over the past six years (or more accurately, reviewed knowledge she already had and never fully forgotten), but because the UK's GCSEs simply aren't that difficult. Core subjects like English, math, science, and languages are straightforward — first-year high school level at most.
As for electives, they're optional. After loading up on business studies, economics, film studies, media studies, music, and politics, anything less than straight A+ would be embarrassing.
Walking out of the final exam, Isabella stretches happily.
"Alright — the most important thing this year is done. Now I just wait for my 10 A+ results."
"Hmph —" Vivian lifts her proud British chin. "What if you don't get 10 A+?"
"Then I'll go to Oxbridge!"
Vivian nearly chokes.
Because 10 A+ in GCSE means finishing in the top 10% of all candidates that year — and for Oxbridge, that's merely the starting point. Only students with mostly A+ in GCSE even stand a chance of being noticed at the A-level stage. Saying she'll go to Oxbridge if she doesn't get 10 A+ is, logically, impossible.
But as many people believe, Isabella doesn't need exams to enter top universities. In the face of absolute power, a diploma is just a piece of paper.
"Isa! You're teasing Mom again!"
Catherine pokes her sister's head. Isabella grins and acts cute, knowing full well her mother is on the verge of exploding. Catherine swiftly changes the subject.
"Since school is done, you can focus on work. What have you decided about Blue Sky Studios? Susie is waiting for your reply."
After the collapse of News Corporation, Blue Sky Studios had fallen into Isabella's hands. Since animation falls under entertainment, she'd had Beaver Entertainment handle the acquisition — normally straightforward, just replacing the old name with the new. But after April, that approach no longer worked.
Ice Age 2 released on March 31 and is expected to surpass $600 million worldwide, giving Blue Sky real bargaining power. Their terms: they're willing to be acquired but want to continue operating as an independent label, and they want funding for Horton Hears a Who — a project tied to an existing agreement with Fox — as well as Ice Age 3.
Since Susie Figgis couldn't decide alone, she called Isabella directly. And Isabella, honestly, couldn't remember whether Horton Hears a Who was any good — which is why she hadn't replied. But now, glancing at her still-annoyed mother, she clears her throat.
"How much does Horton Hears a Who need?"
"Susie said under $100 million."
Even with a sour expression, her mother answers.
"Then grant Blue Sky's request." Isabella waves a hand. To others, $100 million is enormous. To her, it's pocket change.
With exams finished, it is now mid-June 2006 — and Isabella is about to become insanely busy. The Voice theme park ribbon-cutting is approaching. Order of the Phoenix is about to begin filming. The Devil Wears Prada is about to release.
But while reviewing her schedule, she notices something odd.
Prada premieres June 28.
Superman Returns releases the same day.
"What is this?" She looks at Catherine. "Is Warner insane?"
"Warner isn't insane. DC gave up." Catherine explains. "Didn't Barry Meyer say earlier that Superman Returns was bad? Now even DC executives consider it a disaster. After realizing it's beyond saving, they asked Warner to release it the same day as Prada — because if it loses, they can say they were beaten by you."
Isabella stares.
She thinks DC has completely lost its mind. To protect their reputation, they crash a failing film directly into a juggernaut? And Warner agreed? Birds of a feather.
"Will this affect my control over DC?"
"No. Barry Meyer already arranged for DC's chairman and CEO to step down after the release. Bryan Singer will resign too. After that, DC will have no leadership — so it'll only listen to you."
Isabella relaxes. Even finding their logic ridiculous, knowing DC will soon be under her control makes her want to grind Superman Returns into dust.
In her previous life, Prada and Superman Returns had performed similarly at the box office. This time, she believes Prada could be the most successful low-budget film of the year — for two reasons.
First, return on investment: with $2 billion in luxury brand sponsorship from labels including Prada, it is already the most profitable film in history.
Second, Rupert Murdoch gave her an unexpected boost. Prada is, at its core, about a girl leaving her ivory tower and becoming a strong woman — a theme of growth and transformation that is notoriously hard to portray convincingly on screen. Isabella admits she didn't nail it perfectly during filming. But after she confidently walked out of that courtroom, no one in the world would call her immature again.
Silently thanking Murdoch, she taps her schedule.
"Do you know who's been invited to the premiere?"
"I know Anna Wintour will be there…" Catherine thinks, then shakes her head. She isn't really a professional assistant — she helps because Isabella dislikes outsiders. The answer disappoints Isabella. In her mind, Prada is her first film as a woman stepping into a mature world. If only Anna Wintour shows up, that would be underwhelming.
But when June 28, 2026 arrives, the grand red carpet ceremony makes her grin widely.
Because the host of the red carpet is Barry Meyer.