<script>
  <scene>
    <stage_direction>EXT. SWEDEN - DAY</stage_direction>
    <scene_description>A Christmas card vista is spoiled by a black line of railroad tracks stitched onto the snowy landscape like a scar pointing north to icy desolation . A phone rings -</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CABIN - ESTABLISHING</stage_direction>
  </scene>
  <scene>
    <stage_direction>INT. CABIN - LAKE SILJAN - DAY</stage_direction>
    <scene_description>An elderly man who lives alone in this rustic cabin - a retired policeman - regards the phone , both expecting and dreading the call . He picks up the receiver .</scene_description>
    <character>MORELL</character>
    <dialogue>What kind is it?</dialogue>
    <character>VANGER</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>I do n't know. White.</dialogue>
    <character>MORELL</character>
    <dialogue>And the frame?</dialogue>
    <character>VANGER</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>Dark.</dialogue>
    <character>MORELL</character>
    <dialogue>Postmark?</dialogue>
    <character>VANGER</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>Same as last time.</dialogue>
    <character>MORELL</character>
    <dialogue>No note.</dialogue>
    <character>VANGER</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>No.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. VANGER'S STUDY - SAME TIME</stage_direction>
    <scene_description>Henrik Vanger - at 82 , even older than Morell - listens to the silence from his end of the line in a wood - paneled room as baronial as the policeman 's was spartan .</scene_description>
    <character>VANGER</character>
    <dialogue>I ca n't take it anymore.</dialogue>
    <character>MORELL</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>I know. I'm sorry, Henrik.</dialogue>
    <scene_description>There 's nothing more to say . Vanger sets the receiver down and regards a dried white flower in a 6 '' x 11 '' frame resting on the brown paper it was wrapped and mailed in . It 's somehow ominous , like the dark storm clouds that now burst outside -</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COURTHOUSE - STOCKHOLM - DAY</stage_direction>
    <scene_description>Mikael Blomkvist - 40 's - regards the gauntlet of reporters he 'll have to pass to get out of the building . As he strides toward them , microphones and cameras swing in his direction . Without stopping -</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>What is this, the media event of the year?</dialogue>
    <character>REPORTER 1</character>
    <dialogue>Do n't try to play it down, Mikael, it wo n't work.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Do n't try to play it up, that wo n't either.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. COURTHOUSE - STOCKHOLM - DAY - CONTINUOUS</stage_direction>
    <scene_description>Feeling a bit like he 's fleeing the scene of a crime , which in a way he is , Blomkvist steps outside opening his umbrella . A couple of the reporters come out after him -</scene_description>
    <character>REPORTER 2</character>
    <dialogue>Will you appeal?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I'll appeal to you, Viggo : Find a real story to cover.</dialogue>
    <scene_description>He hurries off in the rain .</scene_description>
    <character>NEWSCASTER</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Financial journalist Mikael Blomkvist was found guilty today on 16 counts of aggravated libel against financier Hans - Erik Wennerstrom.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CAFE - STOCKHOLM - DAY</stage_direction>
    <scene_description>At a table with a pre - made sandwich and cup of coffee , and a long court judgement , Blomkvist watches himself fleeing the reporters on the cafe 's TV . He 's the only one there who watches it - no one else is interested - which only makes it worse .</scene_description>
    <character>TV NEWSCASTER</character>
    <dialogue>In an article published earlier this year, Blomkvist claimed Wennerstrom - founder and president of The Wennerstrom Group - used State funds intended for industrial development in Poland for an arms deal with the right - wing Ustashe in Croatia.</dialogue>
    <scene_description>The report cuts to a shot of Wennerstrom outside the courthouse in an Armani suit , surrounded by his legal team , confidently addressing the reporters -</scene_description>
    <character>WENNERSTROM ON TV</character>
    <dialogue>I have nothing against Mr. Blomkvist. He's a good journalist who I do n't believe is guided by malice. But what he wrote was inaccurate, and inaccuracies ca n't go unanswered. He - all journalists - have to accept like the rest of us, actions have consequences.</dialogue>
    <scene_description>Done with his sandwich , Blomkvist goes to the counter .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Marlboro Red. and a lighter.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. CAFE - MOMENTS LATER - DAY</stage_direction>
    <scene_description>He comes out tamping the pack . Extracts a cigarette . Tosses the pack in a sidewalk trash bin . Flicks at the lighter but ca n't get it to fire in the wind and rain . Hunches his body around it , coaxes it to life .</scene_description>
    <character>TV NEWSCASTER</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Blomkvist was ordered to pay 600 thousand SKE in damages and all court costs, which could be significantly more.</dialogue>
    <scene_description>He takes a long drag that dizzies him . A wonderful feeling . He regards the trash bin . Fishes around it , finds the pack , puts it in his coat pocket .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. MILLENNIUM OFFICES, STOCKHOLM - DAY - ESTABLISHING</stage_direction>
  </scene>
  <scene>
    <stage_direction>INT. MILLENNIUM'S OFFICES - DAY</stage_direction>
    <scene_description>He comes through past Christmas decorations and a mostly - young staff . They try not to regard him as a dead - man - walking , but are n't entirely successful . He enters the editor 's office .</scene_description>
    <character>ERIKA</character>
    <dialogue>Where you been?</dialogue>
    <scene_description>Erika Berger is about Blomkvist 's age , and - like the IKEA furniture - sends a mixed message : a feminist in a mini - skirt .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Walking. Thinking.</dialogue>
    <character>ERIKA</character>
    <dialogue>Smoking?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Just one.</dialogue>
    <scene_description>He sits , exhausted and depressed , in a cheap Poang chair .</scene_description>
    <character>ERIKA</character>
    <dialogue>TV4 called. I told them no statement until we've read the judgment in its entirety.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I have. Who else?</dialogue>
    <character>ERIKA</character>
    <dialogue>Everyone who's ever wanted to see you humiliated.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>You've been on the phone all day then.</dialogue>
    <character>ERIKA</character>
    <dialogue>I'm as much to blame for this as you.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>You are? You wrote it?</dialogue>
    <character>ERIKA</character>
    <dialogue>I read it. I ran it.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Not the same.</dialogue>
    <character>ERIKA</character>
    <dialogue>Our credibility is n't dead, Mikael.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Mine is.</dialogue>
    <scene_description>They regard each other in another silence . Then -</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>I'm tired. I feel like climbing under a duvet and sleeping for a week.</dialogue>
    <character>ERIKA</character>
    <dialogue>Alone?</dialogue>
    <scene_description>He thinks about it . shakes his head ` no . '</scene_description>
    <character>ERIKA</character>
    <dialogue>I already called Greger and told him I would n't be home tonight.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. STOCKHOLM - SAME TIME - DAY</stage_direction>
    <scene_description>A motorcycle dives down a driveway that burrows under a three - story building .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ARMANSKY'S OFFICE - MILTON SECURITY - DAY</stage_direction>
    <scene_description>Dragan Armansky , 40 's , who looks more like a boss of a New Jersey crime family than CEO of a high - tech security firm , sits behind his desk , waiting with an older client .</scene_description>
    <character>ARMANSKY</character>
    <dialogue>It's possible we could wait forever.</dialogue>
    <character>FRODE</character>
    <dialogue>You called her, I thought. You spoke to her.</dialogue>
    <character>ARMANSKY</character>
    <dialogue>I'm afraid that does n't mean much.</dialogue>
    <character>FRODE</character>
    <dialogue>I do n't understand.</dialogue>
    <character>ARMANSKY</character>
    <dialogue>No one here likes her. So it's better if she works at home.</dialogue>
    <character>FRODE</character>
    <dialogue>But you told her I wanted to meet her.</dialogue>
    <character>ARMANSKY</character>
    <dialogue>But I've told her many more times I prefer her not to meet clients.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. MILTON SECURITY - SAME TIME - DAY</stage_direction>
    <scene_description>The figure from the motorcycle crosses the lobby . From behind we ca n't see him/her well , but can see wary looks from others emerging from and getting into the elevator .</scene_description>
    <character>FRODE</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>But you like her.</dialogue>
    <character>ARMANSKY</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Very much. She's one of the best investigators I have. As you saw from her report -</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. ARMANSKY'S OFFICE - SAME TIME - CONTINUED</stage_direction>
    <scene_description>The report on Armansky 's desk is 200 pages long . INSERT : Printed on its cover : Mikael Blomkvist , a case number and , smaller , its author , Lisbeth Salander .</scene_description>
    <character>FRODE</character>
    <dialogue>But.</dialogue>
    <character>ARMANSKY</character>
    <dialogue>I'm concerned you wo n't like her. She's different.</dialogue>
    <character>FRODE</character>
    <dialogue>In what way.</dialogue>
    <character>ARMANSKY</character>
    <dialogue>In every way.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. MILTON SECURITY - STOCKHOLM - SAME TIME - DAY</stage_direction>
    <scene_description>The black - clad figure - from behind again - strides past coworkers who look away .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ARMANSKY'S OFFICE - SAME TIME - CONTINUED</stage_direction>
    <character>SECRETARY/INTERCOM</character>
    <dialogue>Ms. Salander's here.</dialogue>
    <scene_description>Armansky breathes a defeated sigh , taps the intercom button twice to say ` okay , let her in . ' Lisbeth Salander walks in : A small , pale , anorexic - looking waif in her early 20 's . Short black - dyed hair - pierced eyelid - tattoo of a wasp on her neck ; probably several more under her black leather jacket - black t - shirt , black jeans , black Caterpillar boots . Frode is only middlingly successful in concealing his initial reaction to her . This is n't punk fashion . This is someone saying , Stay the fuck away from me .</scene_description>
    <character>ARMANSKY</character>
    <dialogue>Lisbeth, Mr. Dirch Frode.</dialogue>
    <character>FRODE</character>
    <dialogue>How do you do?</dialogue>
    <scene_description>She does n't shake Frode 's hand , but does address him :</scene_description>
    <character>SALANDER</character>
    <dialogue>Something wrong with the report?</dialogue>
    <character>FRODE</character>
    <dialogue>No. It seems quite thorough. There's a wealth of data here. But I'm also interested to know what's not in it.</dialogue>
    <character>SALANDER</character>
    <dialogue>There's nothing not in it.</dialogue>
    <character>FRODE</character>
    <dialogue>Your opinion of him is n't.</dialogue>
    <character>SALANDER</character>
    <dialogue>I'm not paid to give my opinion.</dialogue>
    <character>FRODE</character>
    <dialogue>So you do n't have one?</dialogue>
    <scene_description>Salander sends Armansky a weary look . His look back begs her not to say anything unpleasant . Eventually -</scene_description>
    <character>SALANDER</character>
    <dialogue>He's clean. In my opinion.</dialogue>
    <character>FRODE</character>
    <dialogue>He's - excuse me?</dialogue>
    <character>SALANDER</character>
    <dialogue>He's honest. He's who he presents himself to be. In his business, that's an asset.</dialogue>
    <character>FRODE</character>
    <dialogue>There's less in his asset column after his conviction today.</dialogue>
    <character>SALANDER</character>
    <dialogue>That's true. He made a fool of himself with that. If it happened that way.</dialogue>
    <scene_description>Frode looks at Armansky . What 's that supposed to mean ?</scene_description>
    <character>SALANDER</character>
    <dialogue>If he made up the story, that's out of character. So is giving up without a fight. People do n't do things that are out of character.</dialogue>
    <character>FRODE</character>
    <dialogue>Are you saying he was set up?</dialogue>
    <character>SALANDER</character>
    <dialogue>That was n't part of my assignment.</dialogue>
    <scene_description>And , apparently , she has no opinion on it either .</scene_description>
    <character>FRODE</character>
    <dialogue>You're quite right he made a fool of himself professionally. How big of a fool did he make of himself financially?</dialogue>
    <character>SALANDER</character>
    <dialogue>The judgement will just about empty his savings.</dialogue>
    <scene_description>This seems to please Frode more than anything else that has been said , and Salander sees it .</scene_description>
    <character>SALANDER</character>
    <dialogue>May I go?</dialogue>
    <character>FRODE</character>
    <dialogue>Your report is light in another area. His personal life. Anything you chose not to include?</dialogue>
    <character>SALANDER</character>
    <dialogue>Nothing that warranted inclusion.</dialogue>
    <character>FRODE</character>
    <dialogue>I'm not sure if that means yes or no.</dialogue>
    <character>ARMANSKY</character>
    <dialogue>I think what Ms. Salander means, and I agree, is that everyone has a right to a certain amount of privacy, even when they're being investigated.</dialogue>
    <character>FRODE</character>
    <dialogue>Not in this case. I have to know if there's anything about him I might find unsavory - even if she does n't.</dialogue>
    <scene_description>Armansky 's look to her at once apologizes for Frode , and encourages her to speak . She finally relents but puts no more spin on it than any other piece of raw data -</scene_description>
    <character>SALANDER</character>
    <dialogue>He's had a long sexual relationship with his co - editor. It wrecked his marriage, but not hers. Her husband accepts it. Sometimes she sleeps at Blomkvist's, sometimes at home.</dialogue>
    <scene_description>Frode thinks about that , perhaps imagining how much simpler his own life would be with such an arrangement .</scene_description>
    <character>FRODE</character>
    <dialogue>You were right not to include that.</dialogue>
    <character>SALANDER</character>
    <dialogue>I know.</dialogue>
    <character>FRODE</character>
    <dialogue>Anything else?</dialogue>
    <character>SALANDER</character>
    <dialogue>No.</dialogue>
    <character>FRODE</character>
    <dialogue>Please think before you say no.</dialogue>
    <character>SALANDER</character>
    <dialogue>I did.</dialogue>
    <character>FRODE</character>
    <dialogue>I do n't want to be surprised by something later.</dialogue>
    <scene_description>Salander offers nothing more .</scene_description>
    <character>FRODE</character>
    <dialogue>So. Nothing else. In the personal department. You're sure.</dialogue>
    <character>SALANDER</character>
    <parenthetical>( pause . )</parenthetical>
    <dialogue>He likes sandwiches.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. BLOMKVIST'S APARTMENT - ESTABLISHING</stage_direction>
  </scene>
  <scene>
    <stage_direction>INT. BLOMKVIST'S APARTMENT - NIGHT</stage_direction>
    <scene_description>Blomkvist is n't sentimental , but does have a few framed snapshots : his daughter , his sister , and one with Erika - in their 20 's - in which he 's wearing a black leather jacket . She wakes up alone in his bed . Pads to the darkened living room to find him typing on his laptop , a half - eaten sandwich and glass of water next to it .</scene_description>
    <character>ERIKA</character>
    <dialogue>Usually when I wake up in a cold bed, it's at home.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Sorry.</dialogue>
    <character>ERIKA</character>
    <dialogue>What are you doing?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Writing the press release.</dialogue>
    <character>ERIKA</character>
    <dialogue>Saying -</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>You're taking over as publisher. You're sorry for any nuisance Wennerstrom was caused. I ca n't be reached for comment.</dialogue>
    <character>ERIKA</character>
    <dialogue>You're giving up.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Just taking a few steps aside. For you.</dialogue>
    <character>ERIKA</character>
    <dialogue>This makes me sick.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. MCDONALD'S - STOCKHOLM - DAY</stage_direction>
    <scene_description>Salander sits alone at a table waiting for someone with a coffee and a gift haphazardly wrapped with a Christmas bow , the price tag still on it , a paperback book - My 60 Memorable Games , by Bobby Fischer . She notices the price tag is still on it . Peels it off . Dials a call on her cell . Hangs up when it goes to voice mail .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PALMGREN'S APARTMENT - ESTABLISHING</stage_direction>
  </scene>
  <scene>
    <stage_direction>INT. PALMGREN'S APARTMENT - STOCKHOLM - DAY</stage_direction>
    <scene_description>She knocks on a door . Hears classical music playing softly inside , but no one answers . She tries the door . It 's unlocked . The gift in hand , she pushes it open . She comes into an apartment which looks like it could belong to a professor . Sees a chess piece on the floor . Then a trail of them that lead her to an overturned chess table and , next to it , a body . The gash on the old man 's head could have been caused by a fall into the corner of the table , or from a blow to it . She quickly tries to determine if he 's breathing . Calls for an ambulance .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BLOMKVIST'S APARTMENT - STOCKHOLM - EVENING</stage_direction>
    <scene_description>It 's doubtful there 's a stranger Christmas gathering going on anywhere in the world . Standing around with eggnog are : Blomkvist ; his teenage daughter Pernilla ; his sister Annika and her Italian husband ; Erika and her weirdly understanding artist husband Greger , whose arm is around her waist ; a few other friends -LRB- and perhaps lovers -RRB- .</scene_description>
    <character>GREGER</character>
    <dialogue>You needed a better attorney. You needed your sister.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>She offered.</dialogue>
    <character>ANNIKA</character>
    <dialogue>He declined.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>As she hoped.</dialogue>
    <character>ANNIKA</character>
    <dialogue>Never a good idea mixing family and business.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>And I still would have lost.</dialogue>
    <character>GREGOR</character>
    <dialogue>Did you have. anything on him.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I had a lot. It just was n't any good.</dialogue>
    <character>ERIKA</character>
    <dialogue>It was n't even about Mikael. It was Wennerstrom sending a message to the press as a whole - and the FSA : Do n't ask questions.</dialogue>
    <scene_description>Blomkvist 's daughter seems concerned for him .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>I'm fine, Nilla. You do n't have to worry about me.</dialogue>
    <character>PERNILLA</character>
    <dialogue>Mom's worried.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>About me?</dialogue>
    <character>PERNILLA</character>
    <dialogue>About all that money.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. SODER HOSPITAL - STOCKHOLM - NIGHT</stage_direction>
    <scene_description>Outside the ICU , Salander sits on the floor like a dog who wo n't leave the spot its master told it to wait . For the first time since we 've met her , she looks vulnerable . The doors swing open . A doctor steps out . Salander gets up to hear his report -</scene_description>
    <character>DOCTOR</character>
    <dialogue>You're Mr. Palmgren's daughter?</dialogue>
    <character>SALANDER</character>
    <dialogue>His ward. He does n't have a daughter.</dialogue>
    <scene_description>The doctor is n't sure then if he should talk to her .</scene_description>
    <character>SALANDER</character>
    <dialogue>Please.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. ICU - SODER HOSPITAL - LATER - NIGHT</stage_direction>
    <scene_description>Not allowed to go inside , she peers through glass at Palmgren , who is unaware of her , or the nurse attending him , or even himself . A spiderweb of tubes emerge from his neck and wrists ; oxygen tubes from his nostrils .</scene_description>
    <character>DOCTOR</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>He's had severe cerebral hemorrhaging. Either from the fall itself, or a stroke that led to the fall. His blood pressure is still high. I'm hopeful he'll regain consciousness, but that's not assured. And it's possible, if he does, there will be neurological damage.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BLOMKVIST'S APARTMENT - STOCKHOLM - NIGHT</stage_direction>
    <scene_description>They 're around the dinner table now , passing platters around . Blomkvist notices his daughter 's head is bowed in silent prayer .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Nilla? What are you doing?</dialogue>
    <character>PERNILLA</character>
    <dialogue>Nothing.</dialogue>
    <character>BLOMKVIST</character>
    <parenthetical>( pause . )</parenthetical>
    <dialogue>You're not serious.</dialogue>
    <character>PERNILLA</character>
    <dialogue>I do n't want to talk about it since I know you wo n't approve.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Of -.</dialogue>
    <parenthetical>( she does n't say . )</parenthetical>
    <dialogue>Nilla.</dialogue>
    <character>PERNILLA</character>
    <dialogue>Light of Life.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Light of - what?</dialogue>
    <parenthetical>( she does n't repeat it . )</parenthetical>
    <dialogue>What is that?</dialogue>
    <character>PERNILLA</character>
    <dialogue>You think it's all senseless but it is n't. It's more natural to believe in something than not to.</dialogue>
    <scene_description>She begins eating . Blomkvist stares at her , feeling a little sick . A cell phone rings . No one can tell - as you never can - whose it is , and so all pull them out . It 's Blomkvist 's .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Excuse me.</dialogue>
    <scene_description>Looking back at his daughter with some concern , he steps away to take the call .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Hello.</dialogue>
    <character>FRODE</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>Mr. Blomkvist?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Yes.</dialogue>
    <character>FRODE</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>Forgive me for intruding on your Christmas. My name is Dirch Frode. I'm an attorney. I represent Henrik Vanger. Perhaps you've heard of.</dialogue>
    <parenthetical>( him . )</parenthetical>
    <dialogue>-</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Of course.</dialogue>
    <character>FRODE</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>He'd like to speak to you about a private matter.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>You know, you're calling at an awkward time.</dialogue>
    <character>FRODE</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>I'm sorry. I'm about to sit down to Christmas dinner myself.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>That's not what I mean.</dialogue>
    <character>FRODE</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>You're referring to your recent legal trouble. That has provided Mr. Vanger with some entertainment.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Excuse me?</dialogue>
    <character>FRODE</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>He does n't care for Wennerstrom either.</dialogue>
    <scene_description>Frode , in his polite , deliberate way , is reeling Blomkvist in like a perch .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Have him call me.</dialogue>
    <character>FRODE</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>He'd like to meet in person if that's okay. Up north. Hedestad.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>No. Sorry.</dialogue>
    <character>FRODE</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>He's much too old to make a trip to Stockholm, Mr. Blomkvist. Please. If you'd be so kind as to consider.</dialogue>
    <scene_description>Blomkvist is n't sure what to do , or say .</scene_description>
    <character>FRODE</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>Hedestad is lovely in winter. Like a Christmas card.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. METRO - MOVING - STOCKHOLM - MORNING</stage_direction>
    <scene_description>Salander rides a crowded underground train , but feels even more cut off from the people around her than usual ; completely alone .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. NORRLAND COAST - DAY</stage_direction>
    <scene_description>A passenger train , barely visible in a severe snowstorm , makes its way north . This is no Christmas card .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SJ TRAIN - MOVING - DAY</stage_direction>
    <scene_description>Blomkvist stares out at the bleak , northern landscape .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. TRAIN STATION - HEDESTAD - DAY</stage_direction>
    <scene_description>Blomkivist disembarks to find Frode - who he can only assume is Frode - beyond a veil of snow , waving to him from outside a Mercedes . Unlike Blomkvist , he 's dressed for this God - awful weather in a fur - collared topcoat .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT/EXT. MERCEDES / HEDESTAD - DAY</stage_direction>
    <scene_description>Frode 's Mercedes comes across a long bridge linking the old industrial town to a rocky island .</scene_description>
    <character>FRODE</character>
    <dialogue>First time in Hedestad?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>And last, I'm sure.</dialogue>
    <character>FRODE</character>
    <dialogue>It's lovely in the spring.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>You said it was lovely in winter.</dialogue>
    <character>FRODE</character>
    <dialogue>This is unseasonable.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I'll be on the 4:30 train back to Stockholm.</dialogue>
    <character>FRODE</character>
    <dialogue>Unless we get snowed in. I'm joking. You'll be home tonight, if that's what you wish.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT/EXT. MERCEDES - HEDEBY ISLAND - DAY</stage_direction>
    <scene_description>The car comes up a long , bare - tree - lined drive , leading to a stately manor . As Frode and Blomkvist climb out , a distant gunshot echoes , but neither Frode nor the old man who appears at the front door of the manor pays it any attention ; just someone hunting .</scene_description>
    <character>VANGER</character>
    <dialogue>Welcome. Come inside. It's warm.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. VANGER MANOR - DAY</stage_direction>
    <scene_description>It is warm inside . There are fires in the fireplaces . And Vanger himself is warm in nature , yet speaks quickly as they come through the house -</scene_description>
    <character>VANGER</character>
    <dialogue>Thank you for coming way out here. Anna, take Mr. Blomkvist's insufficient coat. Would you like to freshen up? We'll be having dinner later. For now, hot tea is waiting. Unless you'd like a drink instead. What would you like?</dialogue>
    <character>FRODE</character>
    <dialogue>Mr. Blomkvist would like to be on the 4:30 train back to Stockholm.</dialogue>
    <character>VANGER</character>
    <dialogue>What?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I ca n't stay for dinner.</dialogue>
    <scene_description>Vanger looks thoroughly disappointed . Or hurt .</scene_description>
    <character>VANGER</character>
    <dialogue>Oh. I guess I'd better be quick then. Thank you, Dirch. Mikael, this way.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. VANGER'S STUDY - DAY</stage_direction>
    <scene_description>Tea service and pastries on a coffee table separate Blomkvist from Vanger , whose elderly frame is in danger of being swallowed up by a wing - back chair .</scene_description>
    <character>VANGER</character>
    <dialogue>What do you know about me?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>That you used to run one of the biggest industrial firms in the country.</dialogue>
    <character>VANGER</character>
    <dialogue>Used to. That's correct.</dialogue>
    <scene_description>There are framed black and white photographs on a wall - factories and trains figuring into all of them .</scene_description>
    <character>VANGER</character>
    <dialogue>My grandfather forged the tracks the 4:30 train will take you home on - and most of the other pre - state - owned rail lines. We stitched this country together. We made the steel and milled the lumber that built modern Sweden.</dialogue>
    <parenthetical>( pause . )</parenthetical>
    <dialogue>You know what our most profitable product now is?</dialogue>
    <parenthetical>( Blomkvist does n't . )</parenthetical>
    <dialogue>Fertilizer.</dialogue>
    <scene_description>Blomkvist imagines he 's meant to offer a wistful shrug .</scene_description>
    <character>VANGER</character>
    <dialogue>I'm not obsessed with the declining health of the company, but I am with the settling of accounts - and the clock is ticking. I need your help.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Doing.</dialogue>
    <character>VANGER</character>
    <dialogue>Officially, assisting me with my memoirs. But what you'd really be doing is solving a mystery. And you'd do that by doing what you do so well - this recent legal mishap of yours notwithstanding. You'd be investigating thieves, misers, bullies, and malcontents - the most detestable collection of people you'll ever meet. my family.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. SALANDER'S APARTMENT - ESTABLISHING</stage_direction>
  </scene>
  <scene>
    <stage_direction>INT. SALANDER'S APARTMENT - DAY</stage_direction>
    <scene_description>She exhumes an unwashed bowl from a sinkful of dirty dishes , fills it with tap water without rinsing it , dumps a packet of ramen noodles in , puts it in a microwave . She takes a Coke can from an anemically - stocked fridge to a desk in her so - called living room , a clutter of full ashtrays , fast food wrappers , empty soda cans , paperwork , unwashed laundry . The only things of any value here are her MacBook and several external hard drives . NOTE : Changes below are INSERTS only : She types Dirch Frode in the search window . Clicks on the top result which takes her to Frode 's bio on Vanger Industries ' site with its distinctive V.I. logo . His official company photo accompanies his profile : Uppsala University Law School . Assistant Counsel , Vanger Industries , 1965 - 1972 . Head Counsel , 1972 - present . She types in another search - Hans - Erik Wennerstrom . Clicks on his Wikipedia page , which shows a photo of him alongside his bio . She skims it - President of the investment firm , Wennerstrom - gruppen . personal wealth of 12 billion dollars -LRB- 80 billion kronor -RRB- . 82 - foot yacht , villa on the island of Varmdo . She does a third search , types : Wennerstrom + Vanger Industries - and hits the ` cached ' option - There are only a couple of results that include both terms . She goes to one of them , a body of text of some old page with the cached terms highlighted in yellow and blue , and reads - . Hans - Erik Wennerstrom , CPA , Vanger Industries Accounting Dept. , 1971 - 1972 . Hmmm .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HEDEBY ISLAND - DAY - 1960</stage_direction>
    <scene_description>The children of the `` thieves , misers , bullies and incompetents '' play on a beach . A shutter blinks freezing a 12 - year - old girl in foreground in black and white -</scene_description>
    <character>VANGER</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>This is Harriet. The granddaughter of my brother Richard.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. VANGER'S STUDY - DAY</stage_direction>
    <scene_description>The same photograph of Harriet in a photo album Vanger shows Blomkvist .</scene_description>
    <character>VANGER</character>
    <dialogue>Richard, who I may as well start with to get it out of the way, was a Nazi of the first order - joining the Nationalist Socialist Freedom League when he was 17.</dialogue>
    <scene_description>A page in the album turns to reveal a photo of a young man in a uniform with a Nazi pin .</scene_description>
    <character>VANGER</character>
    <dialogue>Is n't it interesting how fascists always steal the word freedom.</dialogue>
    <parenthetical>( Blomkvist checks his watch . )</parenthetical>
    <dialogue>The 4:30. Yes. Okay. Anyway, Richard died a martyr to the Nazi cause in 1940 - missed all the real excitement - but not the opportunity to regularly beat his wife Margareta and their son, Gottfried.</dialogue>
    <scene_description>We see photos of Gottfried , a handsome young man .</scene_description>
    <character>VANGER</character>
    <dialogue>Now, Gottfried - Harriet's father - was what people used to call a Good - Time - Charlie.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>They're still called that.</dialogue>
    <character>VANGER</character>
    <dialogue>Are they? Okay.</dialogue>
    <scene_description>INSERT : Close on a photo of Gottfried .</scene_description>
    <character>VANGER</character>
    <dialogue>He was a charmer, a ladies man, a drunk. In other words, a born salesman - which is what he did for the company - traveling around, taking clients out to dinner and so on.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Someone has to do it.</dialogue>
    <character>VANGER</character>
    <dialogue>That's right. Anyway, he died in 1965. Drowned. Drunk. Here on the island.</dialogue>
    <scene_description>A studio photo : Gottfried with his wife and two children .</scene_description>
    <character>VANGER</character>
    <dialogue>His wife Isabella - who was pretty much useless before as a parent - became even more so after his death - which is when I began looking after their children - Martin - who runs Vanger Industries now that I'm retired - and Harriet.</dialogue>
    <scene_description>A photo of a much younger Vanger and 15 - year - old Harriet .</scene_description>
    <character>VANGER</character>
    <dialogue>She was bright and curious, a winning combination in any person.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>And beautiful.</dialogue>
    <scene_description>Vanger nods as he regards the photo .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Something happened to her?</dialogue>
    <scene_description>Vanger nods again ; is silent for several moments .</scene_description>
    <character>VANGER</character>
    <dialogue>Someone in the family murdered Harriet and for the last forty years has been trying to drive me insane.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. TRAIN STATION - HEDESTAD - DUSK</stage_direction>
    <scene_description>The 4:30 train leaves the station without Blomkvist .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. VANGER'S STUDY - DUSK</stage_direction>
    <scene_description>Anna gathers the cups and leaves with the tea tray .</scene_description>
    <character>VANGER</character>
    <dialogue>It was September 21st, 1966. A Saturday. Harriet was 16.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. VANGER ESTATE - DAY - 1966</stage_direction>
    <scene_description>Three generations of Vangers dot the grounds .</scene_description>
    <character>VANGER</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>My brothers - along with their wives, children and grandchildren - had gathered here for our loathsome annual board meeting and dinner. It was also the day the Yacht Club held its Autumn parade.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. HEDESTAD - DAY - 1966</stage_direction>
    <scene_description>And we see the parade , and , among the spectators lining the town 's main street , Harriet with other teenage girls .</scene_description>
    <character>VANGER</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Harriet and a couple of school friends had gone into town to watch it. She returned a little after two o'clock.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. VANGER'S PARLOR - DAY - 1966</stage_direction>
    <scene_description>A clock in the room reads , 2:10 . Vanger and a few family members sip afternoon cocktails . Harriet appears .</scene_description>
    <character>VANGER</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>She came to the parlor. She asked if she could talk to me. I honestly do n't remember what I was doing that I thought was more important, but I told her to give me a few minutes.</dialogue>
    <scene_description>She leaves . He returns to the others in the room .</scene_description>
    <character>VANGER</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>But in a few minutes, before I could go upstairs to talk to her, something else occurred.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. HEDEBY ISLAND - DAY - 1966</stage_direction>
    <scene_description>A car and a fuel truck , both going too fast , collide on the bridge . The truck rolls onto its side crushing the car and spewing gasoline .</scene_description>
    <character>VANGER</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>The accident had nothing to do with Harriet - and everything.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. VANGER'S FAMILY ROOM - DAY - 1966</stage_direction>
    <scene_description>Vanger and the others react to the noise of the crash . Out the large window they can see the bridge and many of those on the grounds trotting down to get a closer look .</scene_description>
    <character>VANGER</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>It was chaos as everyone dropped what they were doing.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. THE BRIDGE - DAY - 1966</stage_direction>
    <scene_description>People and vehicles converge on both sides of the bridge .</scene_description>
    <character>VANGER</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Police, an ambulance, fire brigade, reporter, photographer and onlookers quickly arrived from town, as those of us on the island - the family - hurried to the bridge from our side.</dialogue>
    <scene_description>The truck driver has managed to climb out of his cab , but the other motorist is trapped .</scene_description>
    <character>VANGER</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>The driver of the car - a Mr. Aronsson - was pinned and severely injured. All we could do was try to pry him out with our hands - since metal tools could spark.</dialogue>
    <scene_description>A local newspaper photographer and another man , snap pictures as Vanger and others try without success to pry the injured driver from his car . As the chaos ensues -</scene_description>
    <character>VANGER</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>About twenty minutes after the crash, Harriet was in the kitchen. Anna herself saw her.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. KITCHEN - VANGER MANOR - DAY - 1966</stage_direction>
    <scene_description>Anna glances to Harriet as she comes in , then back out the window to the bridge . Harriet passes a clock that reads 2:35 , steps outside , walks toward the woods .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. THE BRIDGE - DUSK - 1966</stage_direction>
    <scene_description>As the sun sets , Vanger and the others on the bridge make progress extracting the driver from the car . A young man coming from the town side takes off his jacket to help .</scene_description>
    <character>VANGER</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>We finally got poor Aronsson out of his car and off to the hospital, and those of us on our side drifted back to the house.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. VANGER MANOR - NIGHT - 1966</stage_direction>
    <scene_description>The family has assembled at a long dining table .</scene_description>
    <character>VANGER</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>The sun was down, the excitement over, we sat down to dinner. That's when I noticed Harriet was n't there.</dialogue>
    <scene_description>Vanger considers an empty chair as everyone else , including the young man from the bridge , his jacket draped on his chair , passes platters of food around .</scene_description>
    <character>VANGER</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>And she was n't there the next morning. Or the next. Or the next forty years.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. VANGER'S MANOR - DUSK - PRESENT DAY</stage_direction>
    <scene_description>Vanger has the same look of concern on his face now as he leads Blomkvist up some stairs .</scene_description>
    <character>VANGER</character>
    <dialogue>What was she going to tell me? Why did n't I make time for her? Why did n't I listen?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>She could n't have run away?</dialogue>
    <character>VANGER</character>
    <dialogue>Not without being seen.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. THE BRIDGE - NIGHT - 1966</stage_direction>
    <scene_description>The crews continue their work under lights .</scene_description>
    <character>VANGER</character>
    <dialogue>Firemen stayed on the bridge all night pumping out the gasoline. And no one swam across, or took a row boat. All of them were still tied up on this side Sunday. Believe me, we checked.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. VANGER MANOR - DUSK - PRESENT DAY</stage_direction>
    <character>BLOMKVIST</character>
    <dialogue>She could n't have fallen and drowned?</dialogue>
    <character>VANGER</character>
    <dialogue>The currents are n't strong here. Anything that falls into the water turns up nearby. Like her father. His body did n't drift more than ten meters when he drowned the year before.</dialogue>
    <scene_description>Vanger 's pauses at a landing to steady himself and his labored breathing .</scene_description>
    <character>VANGER</character>
    <dialogue>No. Someone killed her, Mr. Blomkvist. Someone on the island that day. Someone close enough to know what she used to give me each year on my birthday.</dialogue>
    <scene_description>He unlocks the door of the attic and pushes it open to reveal a cluster of nine dusty framed dried flowers on a wall .</scene_description>
    <character>VANGER</character>
    <dialogue>These were from her.</dialogue>
    <scene_description>And , on another wall , forty similarly - framed flowers -</scene_description>
    <character>VANGER</character>
    <dialogue>These, from her killer.</dialogue>
    <scene_description>Blomkvist regards the forty .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Who knows about these?</dialogue>
    <character>VANGER</character>
    <dialogue>Me, the police, the murderer. and now you.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. STOCKHOLM - DUSK</stage_direction>
    <scene_description>It 's raining as an elegantly - dressed woman slows before a luxurious apartment building . Salander approaches from the other direction . Passing , she notes the four number tones the woman keys in the code lock . The door buzzes open and the woman disappears inside . Salander doubles back and keys the same four number tones in the Milton Security lock .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. APARTMENT BUILDING - STOCKHOLM - CONTINUOUS</stage_direction>
    <scene_description>Opulent foyer . Security camera . Antique elevator cage whose cables pull the woman upstairs . Salander comes to an unlocked service door and takes stairs to a basement machine room . Examines tangles of phone lines , meters , Wi - Fi routers . Photographs them with a digital camera . She climbs the stairs back up to the foyer . The front door buzzes , and a man in a suit on the sidewalk pushes it open , sees her , holds it wide enough for her to pass . The man is a driver/bodyguard . He continues to hold the door for his employer who now emerges from the back of an idling car and crosses to it in the rain . Wennerstrom .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. VANGER'S MANOR - NIGHT</stage_direction>
    <scene_description>The rain here is icier and more punishing .</scene_description>
    <character>VANGER</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>When the police investigation petered out, I kept at it -</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. VANGER MANOR - NIGHT</stage_direction>
    <scene_description>They 're eating dinner now in the dining room .</scene_description>
    <character>VANGER</character>
    <dialogue>- studying their reports and interviews, all the information there was, and it's a lot. I've spent half my life examining the events of a single day.</dialogue>
    <scene_description>And for all that , he 's no closer to the truth .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>I understand your frustration. But what you're asking me to do is a waste of money.</dialogue>
    <character>VANGER</character>
    <dialogue>We have n't discussed your fee.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>We do n't need to. I ca n't find something you have n't been able to in forty years.</dialogue>
    <character>VANGER</character>
    <dialogue>You do n't know that. You have a very keen investigative mind.</dialogue>
    <scene_description>Blomkvist wonders why he ever agreed to come here as Vanger refills his wine glass .</scene_description>
    <character>VANGER</character>
    <dialogue>Here's what I propose : You come stay on the island. I have a nice little cottage by the water you can use. You study the material I give you. You find something I've missed - or you do n't.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>You want me to set aside my life and career for something that's a complete waste of time.</dialogue>
    <character>VANGER</character>
    <dialogue>Think of it as a well deserved vacation. A way of avoiding all the people you want to avoid right now.</dialogue>
    <parenthetical>( nothing from Blomkvist . )</parenthetical>
    <dialogue>As for compensation, I'll pay you twice your salary for as many months as it takes. I'll quadruple it if you solve the mystery.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Mr.</dialogue>
    <parenthetical>( Vanger . )</parenthetical>
    <dialogue>-</dialogue>
    <character>VANGER</character>
    <dialogue>I'm not done. I'll throw in one more thing - even though you're a terrible negotiator. It's what you want more than anything else and it ca n't be bought at any price. I'll give it to you. Hans - Erik Wennerstrom.</dialogue>
    <scene_description>He pushes toward Blomkvist a plate : the carcass of the fresh - killed and cooked duck they 've been eating . It and the mention of Wennerstrom 's name clouds , at least for a moment , Blomkvist 's memory of the train he missed .</scene_description>
    <character>VANGER</character>
    <dialogue>He began his career working for me. And I've followed it with interest, shall we say, ever since. You were right about him. You just could n't prove it.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. PLAGUE'S APARTMENT - ESTABLISHING</stage_direction>
  </scene>
  <scene>
    <stage_direction>INT. PLAGUE'S APARTMENT - STOCKHOLM - NIGHT</stage_direction>
    <scene_description>Salander climbs a flight of stairs in a building that could n't be more different than Wennerstrom 's . Knocks on a door , waits , listens to some dead - bolts unlocking . It opens , but remains impassable by a figure weighing over 300 pounds . He offers her no greeting . Fades back into the shadows of his dark apartment .</scene_description>
    <character>PLAGUE</character>
    <dialogue>Would you like to sit? I could possibly clear a place if necessary.</dialogue>
    <scene_description>It 's hard to imagine how he or anyone might accomplish that . The place is like a junkyard . Even the unmade bed is covered with stuff .</scene_description>
    <character>SALANDER</character>
    <dialogue>Did you make it?</dialogue>
    <character>PLAGUE</character>
    <dialogue>Have you something for me?</dialogue>
    <scene_description>She takes some cash from a pocket , hands it to him . He counts it and is unimpressed with its total .</scene_description>
    <character>PLAGUE</character>
    <dialogue>I'm on welfare ; I do n't administer it. This is n't enough.</dialogue>
    <character>SALANDER</character>
    <dialogue>I had to pay three months back rent and eat a little bit. It's all I have right now.</dialogue>
    <character>PLAGUE</character>
    <dialogue>I find that so poignant.</dialogue>
    <scene_description>So much so that he does nothing more than look at her . She reaches to take the money back , but he pockets it and moves across the dark room to a work table where high - end computers fight for space with debris . Finds and gives her a small homemade electronic box , which she turns over in her hands . While it 's clear both these people are deficient in behavior that governs polite society , it 's hard to tell which lacks it more .</scene_description>
    <character>PLAGUE</character>
    <dialogue>No ` thank you?'</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. MILLENNIUM OFFICE - EARLY MORNING</stage_direction>
    <scene_description>Erika , first to arrive this morning , or so she thinks , comes through the empty offices with a Wayne 's Coffee to - go cup - but Blomkvist is already there , packing supplies from his desk , books from his shelf . A second suitcase , presumably full of clothes , sits on the floor .</scene_description>
    <character>ERIKA</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>You ca n't be serious -</dialogue>
  </scene>
  <scene>
    <stage_direction>INT/EXT. MILLENNIUM'S OFFICES - EARLY MORNING - LATER</stage_direction>
    <scene_description>He zips the suitcase with the supplies in it closed and gathers the rest .</scene_description>
    <character>ERIKA</character>
    <dialogue>We're in our worst crisis ever and you're writing a memoir?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>You fired me ; I need something to do.</dialogue>
    <character>ERIKA</character>
    <dialogue>You fired you ; I need you here, not the North Pole. You know what this is going to look like.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Like I've been gutted. Like I'm running away. I am.</dialogue>
    <scene_description>They cross through the building , he with his cases , she with her coffee cup .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Wennerstrom wants to see me waving a white flag, not a red one. And the more it looks like there's a problem between you and me, the more it'll satisfy him.</dialogue>
    <character>ERIKA</character>
    <dialogue>There is a problem between us. He wo n't be satisfied until he shuts us down, and you're leaving me to fight him alone.</dialogue>
    <scene_description>He kisses her but gets back no more than he would from a statue - and steps outside .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>It's four hours by train. It's not the North Pole.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. TRAIN STATION - HEDESTAD - DAY</stage_direction>
    <scene_description>The depot thermometer reads 0 . Blomkvist disembarks with two suitcases . This time , Frode is n't there to meet him . He struggles with his luggage through the snow to a taxi stand .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TAXI - MOVING - DAY</stage_direction>
    <scene_description>As a taxi passes a gas station by the bridge , Blomkvist regards the Middle Eastern driver 's eyes which regard him in the rear view mirror .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Think this snow's going to let up anytime soon?</dialogue>
    <character>HUSSEIN</character>
    <dialogue>This is the North Pole.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. COTTAGE - HEDEBY ISLAND - DAY</stage_direction>
    <scene_description>The taxi deposits Blomkvist outside a cottage . From here he can see Vanger 's manor and couple other houses . The taxi drives off and disappears into the snow .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE - DAY</stage_direction>
    <scene_description>Two rooms . Fireplace . Pile of wood . A realtor would call it cozy . In truth it 's just tiny and freezing cold . Blomkvist unpacks . Puts clothes in a wardrobe , sets out books , note pads , pens , CD 's , a CD player , his laptop and a small printer . He flips open his cell phone to make a call . Gets no reception bars . Hears a faint , plaintive cry and traces it to a window , beyond which , on the sill outside , stands a cat peering in . He opens the door , and the cat heads straight for the kitchenette . Then looks at him .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>What. Milk?</dialogue>
    <scene_description>He opens the old fridge . No milk . Nothing .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. COTTAGE - DAY</stage_direction>
    <scene_description>He comes out into falling snow holding his cell phone out in front of him like a dowser divining ground water . Moves around trying to get a signal . Ca n't .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MARKET - HEDESTAD - DUSK</stage_direction>
    <scene_description>He purchases milk , butter , a loaf of sliced bread , some packaged lunch meats and a few cans of cat food .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HEDESTAD - DUSK</stage_direction>
    <scene_description>He walks along the street through wind - whipping snow , cradling the grocery bag , cell out in front of him again . Any of the locals could tell him he could do this forever - there are no cell towers anywhere around here .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HEDESTAD - DUSK</stage_direction>
    <scene_description>Grocery bag at his feet , he dials a call with fingers he can no longer feel on the gas station pay phone by the end of the bridge . It goes to Erika 's voice mail .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>It's me. I'm here. It's fucking cold and I'm on a pay phone. If you tried to call, the reception sucks, and if you tried to email, there's none of that either, so - so - I'm here - and - I ca n't even speak it's so fucking cold.</dialogue>
    <scene_description>He hangs up , open the same pack of cigarettes from before . Eighteen in there . Struggles to get one lit in the wind and snow , hurries off toward the bridge .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE - NIGHT</stage_direction>
    <scene_description>As the cat laps at milk on a plate , Blomkvist tries to get a fire going using pages ripped from a book . It 's a struggle he 's going to lose ; he 's no Boy Scout .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. WENNERSTROM'S BUILDING - NIGHT</stage_direction>
    <scene_description>Salander appears and keys in the four lock tones .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. WENNERSTROM'S BUILDING - NIGHT</stage_direction>
    <scene_description>In the machine room again , she pulls one cable away from the others and wires to it to Plague 's electronic box .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HEDESTAD - DAWN</stage_direction>
    <scene_description>The bell in the church tower clangs -</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE - DAWN</stage_direction>
    <scene_description>But it 's a knock that draws Blomkvist awake . Having forgotten where he is , he regards the cat sleeping with him , then the room , and groans . He pads to the door in the freezing cold . Opens it to find a rugged older man on his doorstep with a handcart loaded with file boxes .</scene_description>
    <character>NILSSON</character>
    <dialogue>I'm Gunner. The caretaker.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE - LATER - DAWN</stage_direction>
    <scene_description>As Gunner expertly builds a fire in the fireplace for him , Blomkvist works at unpacking the boxes - documents , fat police reports , notebooks , folders , photo albums .</scene_description>
    <character>NILSSON</character>
    <dialogue>You're an author.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I'm writing a biography of Mr. Vanger, yes.</dialogue>
    <scene_description>Nilsson nods , but is n't sure he believes it . Maybe he took a look inside the boxes before he brought them down .</scene_description>
    <character>NILSSON</character>
    <dialogue>I saw you on television.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>That's unfortunate.</dialogue>
    <character>NILSSON</character>
    <dialogue>Bit of trouble, I guess.</dialogue>
    <scene_description>Blomkvist nods and hopes that 's enough to put an end to the subject . It is n't .</scene_description>
    <character>NILSSON</character>
    <dialogue>No jail time, though. That's good. Cost you a lot of money though, yeah?</dialogue>
    <scene_description>Blomkvist shares his annoyance with the cat . Nilsson dusts himself off , satisfied with the fire he 's made .</scene_description>
    <character>NILSSON</character>
    <dialogue>There.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. VANGER ESTATE - DAY</stage_direction>
    <scene_description>Vanger has ventured outside to show Blomkvist around the estate . Smoke from chimneys rise into bitter cold grey skies , weather for which Blomkvist , unlike the old man , is inadequately dressed .</scene_description>
    <character>VANGER</character>
    <dialogue>The island is owned by my family. Your closest neighbor is my brother Harald, another Nazi if you can believe. Two in the family. He's detestable to put it nicely, but you'll probably never see him. He's a recluse.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>He was there that day?</dialogue>
    <character>VANGER</character>
    <dialogue>Indeed he was.</dialogue>
    <scene_description>Vanger 's look to Blomkvist adds , ` so consider him a suspect . ' He indicates another house on the grounds -</scene_description>
    <character>VANGER</character>
    <dialogue>That's his daughter Cecilia's house. They do n't speak.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Does anyone speak to anyone on this island?</dialogue>
    <character>VANGER</character>
    <dialogue>Actually, Isabella - Harriet's mother - who lives there -.</dialogue>
    <parenthetical>( points . )</parenthetical>
    <dialogue>- she speaks to Harald - which is one of reasons I do n't speak to her.</dialogue>
    <parenthetical>( points . )</parenthetical>
    <dialogue>Cecilia's brother Birger lives there.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Who does n't he speak to?</dialogue>
    <character>VANGER</character>
    <dialogue>You, probably. Not that you'd want him to. He can be as unpleasant as Harald.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I'm quickly losing track who's who.</dialogue>
    <character>VANGER</character>
    <dialogue>Oh, how you'll wish were it always so. Soon you'll know us all only too well - with my apologies.</dialogue>
    <parenthetical>( points . )</parenthetical>
    <dialogue>Out there is my nephew Martin's house ; Harriet's brother.</dialogue>
    <scene_description>It 's a modern house - lots of glass - out on the point .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Who speaks to him?</dialogue>
    <character>VANGER</character>
    <dialogue>I speak to him. He runs the company now, as I think I told you.</dialogue>
    <scene_description>They hear a distant rifle crack and echo . It startles Blomkvist a bit , but not Vanger .</scene_description>
    <character>VANGER</character>
    <dialogue>Someone shooting their dinner. Gunner probably. The caretaker.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I just met him.</dialogue>
    <character>VANGER</character>
    <dialogue>He was 19 when Harriet disappeared.</dialogue>
    <scene_description>Old enough , Blomkvist gathers , to be considered a suspect . Vanger points off -</scene_description>
    <character>VANGER</character>
    <dialogue>He lives over there.</dialogue>
    <scene_description>Shivering in the cold , Blomkvist turns .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>And you live here.</dialogue>
    <character>VANGER</character>
    <dialogue>Sorry?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Your house.</dialogue>
    <scene_description>For a moment , Vanger is n't sure what Blomkvist means . Then he is , and is pleased by it .</scene_description>
    <character>VANGER</character>
    <dialogue>Yes, you're right. The man who hires the detective should always be kept on the suspects list.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. PALMGREN'S APARTMENT - DAY</stage_direction>
    <scene_description>A nurse takes a tray away , leaving Salander alone with Palmgren , separated by the chess table they wo n't playing a game on . She wipes his mouth with her sleeve .</scene_description>
    <character>SALANDER</character>
    <dialogue>I got a call from social welfare. I've been assigned a new guardian.</dialogue>
    <scene_description>It 's unlikely he understands what she has said . It 's unlikely he even knows she 's there .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE - NIGHT</stage_direction>
    <scene_description>Tacked to a wall , a map of the island on which Blomkvist has written the names of the living Vanger family members and staff in the approximate locations of their houses . Next to it - 3x5 cards and photos - a Vanger family tree - which doubles as a suspects list . On some of the cards is the word , ` deceased . ' He makes a sandwich . Refills a coffee cup . Begins reading the police reports . The first is a photocopy of a note when the call from Vanger came in : `` Officer Morell informed by telephone of situation , 10:19 p.m. ''</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HEDEBY ISLAND - NIGHT - 1966</stage_direction>
    <scene_description>Gustaf Morell stands at the bow of a patrol boat slowly motoring past the bridge where the fire brigade works to pump the gasoline from the overturned truck . INTERCUT : Blomkvist reads , `` Morell on site , Hedeby Island , 11:42 p.m. ''</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. VANGER MANOR - NIGHT - 1966</stage_direction>
    <scene_description>Morell , feeling like he 's entered an Agatha Christie locked room mystery , regards the extended Vanger clan sitting in the living room looking suitably worried .</scene_description>
    <character>MORELL</character>
    <dialogue>I'd like to see the girl's room.</dialogue>
    <character>VANGER</character>
    <dialogue>It's down the hall.</dialogue>
    <character>MORELL</character>
    <dialogue>I thought this was your house.</dialogue>
    <character>VANGER</character>
    <dialogue>It is. She lives with me.</dialogue>
    <character>MORELL</character>
    <dialogue>Are her parents alive?</dialogue>
    <character>VANGER</character>
    <dialogue>Her mother is.</dialogue>
    <scene_description>Vanger points Isabella out . Slender , overdressed and smoking a Sobranie , she immediately strikes Morell as a woman as venomous as she is beautiful .</scene_description>
    <character>VANGER</character>
    <dialogue>This way.</dialogue>
    <scene_description>Morell follows Vanger down a hall - INTERCUT : Blomkvist reads , `` Approx . 12:05 , inspected missing girl 's bedroom . Found - ''</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HARRIET'S ROOM - VANGER MANOR - DAWN - 1966</stage_direction>
    <scene_description>A purse on the desk in Harriet 's room . Morell carefully removes the contents : Comb , pocket mirror , handkerchief , wallet containing a few kronor , her ID , and her address book . He leafs through this .</scene_description>
    <character>DET. MORELL</character>
    <dialogue>I want to speak to everyone here. That'll take all night so you might want someone to put some coffee on.</dialogue>
    <character>YOUNGER VANGER</character>
    <dialogue>What about the search?</dialogue>
    <character>MORELL</character>
    <dialogue>First thing in the morning.</dialogue>
    <character>YOUNGER VANGER</character>
    <dialogue>No. We should do it now. She could be hurt out there.</dialogue>
    <scene_description>Vanger is either a good actor or has nothing to hide .</scene_description>
    <character>VANGER</character>
    <dialogue>Please. I beg you.</dialogue>
    <scene_description>INTERCUT : Blomkvist reads , `` authorized our patrol boat and two volunteer craft to begin 12:20 a.m. - G. Morell . ''</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HEDEBY ISLAND - NIGHT - 1966</stage_direction>
    <scene_description>The police patrol boat and two Peterssons motor around the island , spotlighting the shore and rocky cliffs .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. VANGER MANOR - NIGHT - 1966</stage_direction>
    <scene_description>The weird tableaux of characters , awaiting their interviews with Morell . At the moment , he 's across the room with Harald Vanger , taking notes , drinking coffee . INTERCUT : Blomkvist reads , `` Patrol 014 and Orienteering Club volunteers assembled , 6:40 a.m. ''</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HEDEBY ISLAND - DAWN - 1966</stage_direction>
    <scene_description>Search parties crisscross the island , wade through ditches , check old barns , shine flashlights up chimneys . Woodsmen with blood hounds comb through woods .</scene_description>
    <character>MORELL</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>We searched for days.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT/INT. TRAIN - MOVING - LAKE SILJAN - PRESENT DAY</stage_direction>
    <scene_description>A train bisects the landscape . Blomkvist looks out .</scene_description>
    <character>MORELL</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Eventually, much to his dismay - and mine - I had to talk to Henrik about calling it off -</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. HEDEBY ISLAND - DUSK - 1966</stage_direction>
    <scene_description>As the search continues , Morell , looking like he has n't slept - which he has n't - peers down a rocky cliff to the water . Somehow he knows they 're never going to find her .</scene_description>
    <character>MORELL</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>The fact that I never found a body did n't surprise me. You ca n't dig up an entire island.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CABIN - LAKE SILJAN - DAY</stage_direction>
    <scene_description>The same face - forty years older - the man who spoke to Vanger on the phone about the dried flowers - now speaks with Blomkvist as he scrapes out the bowl of his pipe .</scene_description>
    <character>MORELL</character>
    <dialogue>But I also could n't find a motive. Was it spontaneous? Was it planned? Did she know something someone wished she did n't? Was it about business?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Business? She was sixteen.</dialogue>
    <character>MORELL</character>
    <dialogue>And very bright. Henrik told me he could easily imagine her running the business someday, which would mean someone else would n't.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>She was with some friends that day. At a parade. You must have talked to them.</dialogue>
    <character>MORELL</character>
    <dialogue>She told them she was n't feeling well. She left early. But they also said she kept secrets from them, too. The main thing I learned talking to them for hours is that teenage girls are complicated.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I have one.</dialogue>
    <character>MORELL</character>
    <dialogue>So you know.</dialogue>
    <parenthetical>( Blomkvist does indeed . )</parenthetical>
    <dialogue>Did you bring the last gift Henrik received?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>It's at the National Forensic Lab.</dialogue>
    <character>MORELL</character>
    <dialogue>I can tell you what their report will say now : It's a flower common to Europe. All of them are. No prints. No DNA.</dialogue>
    <scene_description>He lights the pipe . Blomkvist watches the tobacco glow .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>I wanted to ask you about this.</dialogue>
    <scene_description>He produces an old address book from his jacket pocket . Of course , Morell has seen it before , and handles it delicately . The decades have dried out its pages .</scene_description>
    <character>MORELL</character>
    <dialogue>She received this from Henrik the Christmas before. I studied it more times than I can say. I know every page of it.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>It's the last page I'm curious about.</dialogue>
    <character>MORELL</character>
    <dialogue>As was I.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>The only names not alphabetized.</dialogue>
    <scene_description>Morell nods that he knows that only too well as he turns to that last page . On it , in neat handwriting : Magda 32016 Sara 32109 R.J. 30114 R.L. 32027 Mari 32018</scene_description>
    <character>MORELL</character>
    <dialogue>They're local Hedestad phone numbers. The first belonged to a woman named Margot, whose mother was Magda, who claimed she did n't know Harriet. The fourth, R.L., belonged to Rosemarie Larsson, an elderly woman who died a few years before. The other three were unconnected in any way that I could find.</dialogue>
    <scene_description>He hands the address book back . It , and everything else about the case , clearly trouble him still .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>I've reminded you of things you'd rather forget. I'm sorry.</dialogue>
    <character>MORELL</character>
    <dialogue>I ca n't forget it. It's my Rebecka Case.</dialogue>
    <scene_description>Blomkvist is n't sure what that means .</scene_description>
    <character>MORELL</character>
    <dialogue>Every policeman has at least one unsolved case. Back then it was old Torstensson. Year after year he kept returning to one - taking out the files - uselessly studying them. As young men, we had to laugh.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Was this also a missing girl case?</dialogue>
    <character>MORELL</character>
    <dialogue>No, that's not why I mention it. The Rebecka Case is something that happened before Harriet was born. I'm talking about the soul of a policeman. Poor Torstensson could never solve it, and could never let it go.</dialogue>
    <scene_description>And neither can poor Morell with his Harriet case .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STOCKHOLM - DAY</stage_direction>
    <scene_description>An unexciting social welfare building .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BJURMAN'S OFFICE - DAY</stage_direction>
    <scene_description>As a man behind a desk reviews a thick file , Salander reviews him : About 50 ; spends money on suits , thinking that might disguise his public servant status ; no wedding ring ; typical creep , as far as she 's concerned .</scene_description>
    <character>BJURMAN</character>
    <dialogue>How's Mr. Palmgren doing? I was told he had a stroke of some kind.</dialogue>
    <parenthetical>( nothing from Salander . )</parenthetical>
    <dialogue>Terrible.</dialogue>
    <scene_description>It is , but she can tell he could n't care less . He leafs through her file -</scene_description>
    <character>BJURMAN</character>
    <dialogue>What exactly do you do at this security company?</dialogue>
    <character>SALANDER</character>
    <dialogue>Make coffee and sort mail.</dialogue>
    <character>BJURMAN</character>
    <dialogue>But not full - time. Not even part - time consistently. They somehow got along without coffee or mail in July and August?</dialogue>
    <scene_description>Nothing from her .</scene_description>
    <character>BJURMAN</character>
    <dialogue>How much do you earn there?</dialogue>
    <character>SALANDER</character>
    <dialogue>Enough.</dialogue>
    <character>BJURMAN</character>
    <dialogue>How much is your rent?</dialogue>
    <character>SALANDER</character>
    <dialogue>I pay my rent.</dialogue>
    <character>BJURMAN</character>
    <dialogue>When's the last time you were late?</dialogue>
    <character>SALANDER</character>
    <dialogue>Never.</dialogue>
    <character>BJURMAN</character>
    <dialogue>Do you think that ring in your eyelid makes you attractive?</dialogue>
    <scene_description>Salander , who 's had to suffer insufferable officials all her life , does n't dignify the question with an answer .</scene_description>
    <character>BJURMAN</character>
    <dialogue>Here's the problem. There a discrepancy between the obligation of Mr. Palmgren's guardianship and the management of your finances.</dialogue>
    <character>SALANDER</character>
    <dialogue>It is n't a discrepancy or a problem. It was clear to him I could manage my own finances.</dialogue>
    <character>BJURMAN</character>
    <dialogue>But that's not clear to me.</dialogue>
    <character>SALANDER</character>
    <dialogue>I'm not a child.</dialogue>
    <character>BJURMAN</character>
    <dialogue>No. You're not.</dialogue>
    <parenthetical>( looks at her too long . )</parenthetical>
    <dialogue>But you were. And between then and now -.</dialogue>
    <parenthetical>( indicating the files . )</parenthetical>
    <dialogue>- two years in the locked ward at St. Stephens, for violent aggression - failure to adapt to four foster homes and seven schools - arrested twice for intoxication, twice for narcotics use, and most recently for assault : a bottle smashed into a man's face. You may have conned Mr. Palmgren into thinking you've improved, but looking at this -.</dialogue>
    <parenthetical>( the file . )</parenthetical>
    <dialogue>- not to mention how you're looking at me now - I can see you have n't. So the Good - Old - Mr - Palmgren - Days are over. Starting now, you'll be given a monthly allowance. You'll provide me with receipts for your expenses. If the numbers do n't balance, I'll have to assume the difference is going to drugs.</dialogue>
    <character>SALANDER</character>
    <dialogue>I've been on my own since I was twelve.</dialogue>
    <character>BJURMAN</character>
    <dialogue>No. You've been a persistent burden to the State since you were twelve.</dialogue>
    <scene_description>She wo n't look at him any more - not that there 's anything even remotely interesting to see if she did .</scene_description>
    <character>BJURMAN</character>
    <parenthetical>( CONT 'D . )</parenthetical>
    <dialogue>Ms. Salander? Please look at me. Because this is important.</dialogue>
    <scene_description>She does . in a way that says , I 'd like to kill you .</scene_description>
    <character>BJURMAN</character>
    <dialogue>This behavior you're displaying right now is elaborately documented here -.</dialogue>
    <parenthetical>( in the file . )</parenthetical>
    <dialogue>- so it would come as a shock to no one if I chose an alternative to the lenient arrangement I just outlined. Is that what you're saying with your silence? You'd prefer institutionalization?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BJURMAN'S OFFICE BUILDING - DAY</stage_direction>
    <scene_description>Salander steps into the elevator , hits the down button . As the doors close -</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HEDEBY ISLAND - EVENING</stage_direction>
    <scene_description>Martin 's house did n't look so far away , but the road Blomkvist has to climb to reach it , and the fact he , like all writers , is out of shape , taxes him . A car driven by an attractive woman in her 30 's pulls alongside him .</scene_description>
    <character>LIV</character>
    <dialogue>Mikael?</dialogue>
    <parenthetical>( he manages a nod . )</parenthetical>
    <dialogue>We're going to the same place. Hop in.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. MARTIN'S HOUSE - EVENING</stage_direction>
    <scene_description>Martin , wearing an apron , opens the door to find both his dinner guests on the porch .</scene_description>
    <character>LIV</character>
    <dialogue>I found him at death's door halfway up the hill.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I'm afraid I'm a bit out of shape.</dialogue>
    <character>MARTIN</character>
    <dialogue>No, it's a climb for anyone. I should've warned you. Come on in.</dialogue>
    <scene_description>Blomkvist puts a bottle of aquavit in Martin 's hand .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MARTIN'S HOUSE - NIGHT</stage_direction>
    <scene_description>The place is far cry from Vanger 's manor . It 's modern . Martin , Liv and Blomkvist work on the dinner Martin has prepared . Soft jazz music issues from somewhere .</scene_description>
    <character>LIV</character>
    <dialogue>I used to work in the company's petrochemical division in Goteborg. When it was sold, I went with it.</dialogue>
    <character>MARTIN</character>
    <dialogue>A dark day.</dialogue>
    <character>LIV</character>
    <dialogue>I live in Hong Kong now, but come back to Stockholm for family events, and when I do, I drive up to spend a couple days with Martin.</dialogue>
    <character>MARTIN</character>
    <dialogue>She comes for the moose steak.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Is that what this is?</dialogue>
    <scene_description>They all glance away to a sound : A soft , strange , wailing wind . Martin drains the last of a bottle of wine in Blomkvist 's glass and gets up .</scene_description>
    <character>MARTIN</character>
    <dialogue>Something's open. You like this one, or would you like to try something else?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>That one's good.</dialogue>
    <scene_description>Martin heads off to the kitchen . Blomkvist and Liv , left with each other , seem unsure what to talk about .</scene_description>
    <character>LIV</character>
    <dialogue>I saw you on Sky News a while ago.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>That was a dark day.</dialogue>
    <character>LIV</character>
    <dialogue>Sorry to remind you of it.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>It's okay. There are worse things than libel - though I ca n't immediately think of one in my business.</dialogue>
    <character>LIV</character>
    <dialogue>You're writing a book now, Martin said.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Henrik's biography.</dialogue>
    <character>LIV</character>
    <dialogue>I love Henrik. He's fascinating. Martin, too. Together they're the Old Sweden and the New.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>They are.</dialogue>
    <character>LIV</character>
    <dialogue>You know about Harriet, right?</dialogue>
    <scene_description>Blomkvist does n't say . The sound of the wind stops .</scene_description>
    <character>LIV</character>
    <dialogue>You do n't?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I do.</dialogue>
    <scene_description>Martin emerges from the cellar with a bottle of wine in hand and returns with it to the dining room .</scene_description>
    <character>LIV</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>The family does n't like to talk about it, but it ca n't just be swept under the rug.</dialogue>
    <character>MARTIN</character>
    <dialogue>What ca n't.</dialogue>
    <character>LIV</character>
    <dialogue>Harriet.</dialogue>
    <scene_description>Martin does n't comment . Just nods . Silence . Then -</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Maybe we could talk about that later.</dialogue>
    <character>MARTIN</character>
    <dialogue>We can talk about it now.</dialogue>
    <parenthetical>( Blomkvist glances to Liv . )</parenthetical>
    <dialogue>Liv knows everything about my crazy family. Which is why she'll never marry me.</dialogue>
    <character>LIV</character>
    <dialogue>That's one reason.</dialogue>
    <scene_description>She holds up her left hand . A wedding ring is on it . The couple seems very comfortable with each other , not unlike Blomkvist and Erika .</scene_description>
    <character>MARTIN</character>
    <dialogue>Do n't put that in your book. Anything else is fine. Harriet certainly. Everything changed after that. Not just the family, but the company.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>How so.</dialogue>
    <character>MARTIN</character>
    <dialogue>We're not Nordea or Ericsson, but we're still the largest family - owned company in the country. At the height, we had 40,000 employees. We have about half that now, and that downward slide - anyone can tell you - began after my sister's death. It broke Henrik's entrepreneurial spirit, and his heart.</dialogue>
    <scene_description>And Martin 's , too , clearly . Blomkvist dares to ask , as innocently as possible -</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>You were here that day?</dialogue>
    <character>MARTIN</character>
    <dialogue>Everyone was here, though I did n't get in until after the accident on the bridge. The 4:30 train.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I know it well.</dialogue>
    <character>MARTIN</character>
    <dialogue>It was a terrible day. And the days after - searching and not finding her - were even worse.</dialogue>
    <scene_description>Liv sets her hand atop her boyfriend 's .</scene_description>
    <character>MARTIN</character>
    <dialogue>This event, Mikael, has to be a big part of your book.</dialogue>
    <scene_description>Blomkvist promises him with a nod that it will .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. STOCKHOLM METRO - DAY</stage_direction>
    <scene_description>As Salander moves with a crowd toward the doors of a subway car , someone behind her roughly yanks the strap of her messenger bag from her shoulder - She gives chase , pushes past people , catches up with the junkie , grapples with him . He slugs her . She goes down , but does n't give up . Catches up with him on the escalator , throws him back down it . The bag slams onto the metal stairs , too , but at least she has it now . She does n't run . She waits at the top and watches the junkie drag himself up and think about trying again . He wisely decides to let it go , hops to the down - escalator and disappears into the underground station .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT/EXT. COTTAGE - DAY</stage_direction>
    <scene_description>Blomkvist sifts through a box containing some of Harriet 's personal belongings : school papers , textbooks , a Bible , the address book , her wallet and ID . A knock on the door . He puts the box in a closet on top of others , kicks it closed , opens the front door to find a not unattractive woman in her 50 's on his porch .</scene_description>
    <character>CECILIA</character>
    <dialogue>Hi. I thought I'd come over and say hello. I'm Cecilia.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE - DAY</stage_direction>
    <scene_description>Cecilia regards Blomkvist 's Vanger family tree on the wall . Wherever he only has an old photo , there 's a Post - It next to it that reads : Recent Photo ? INSERT of Cecilia 's photo , taken when she was a teenager , and a Post - It with her name on it .</scene_description>
    <character>CECILIA</character>
    <dialogue>We're all uncomfortable with the idea of a chronicle of our family.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>It's not about the family. It's about Henrik and the company.</dialogue>
    <character>CECILIA</character>
    <dialogue>Like I said.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>It's not my intention to present a malicious portrait of anyone.</dialogue>
    <character>CECILIA</character>
    <dialogue>Unlike the one that landed you in court.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Unlike that one. Correct.</dialogue>
    <character>CECILIA</character>
    <dialogue>So, what you're saying is, you're not really here to look into what happened to Harriet.</dialogue>
    <scene_description>Silence . Then -</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>I ca n't ignore such a dramatic event, but no, that's not by any means my focus.</dialogue>
    <character>CECILIA</character>
    <dialogue>So all those boxes Gunner carted down here - which are where? - in the closet now? - were n't Henrik's private investigation.</dialogue>
    <parenthetical>( Blomkvist ca n't think fast enough to respond . )</parenthetical>
    <dialogue>I wonder sometimes who's crazier - my Nazi father or my obsessed uncle.</dialogue>
    <scene_description>INSERT of the photo of Young Harald in his Nazi uniform on the wall .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Since we're talking about it, since you brought it up, what was Harriet like?</dialogue>
    <character>CECILIA</character>
    <dialogue>I'm sure Henrik has told you.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>He was my age then, and so could n't know what was really going on with a teenager any more than I can with my own daughter. You were her age.</dialogue>
    <character>CECILIA</character>
    <dialogue>Actually, my sister Anita was closer to her in age.</dialogue>
    <scene_description>INSERT of the photo on the wall of Anita , taken when she was about 17 years old .</scene_description>
    <character>CECILIA</character>
    <dialogue>She knew Harriet better than anyone - certainly better than I did. You should talk to her.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I'd love to, where is she.</dialogue>
    <character>CECILIA</character>
    <dialogue>If I had to guess - London.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>You do n't know where your own sister lives?</dialogue>
    <character>CECILIA</character>
    <dialogue>I have n't seen her in years. We never really got along.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I'm getting used to that comment.</dialogue>
    <character>CECILIA</character>
    <dialogue>That's the way it is when you're always after the same boys.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>People generally get over that sort of thing at a certain point.</dialogue>
    <character>CECILIA</character>
    <dialogue>Oh, I'm long over it, and wo n't ever have to worry about it again. She hates this place even more than I do. She left, moved to London and that was it. You could n't pay her to send a Christmas card, much less visit.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I'll try to track her down for you.</dialogue>
    <character>CECILIA</character>
    <dialogue>Do n't bother.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>For myself then.</dialogue>
    <scene_description>He smiles . She studies him . Maybe he 's not so bad .</scene_description>
    <character>CECILIA</character>
    <dialogue>If you do, and try talking to her about us, do n't be surprised if she tells you to fuck off.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. MACJESUS - DAY</stage_direction>
    <scene_description>A tech tries to get beyond the dreaded blinking '' ? '' on the laptop 's cracked screen .</scene_description>
    <character>TECH</character>
    <dialogue>You backed up?</dialogue>
    <character>SALANDER</character>
    <dialogue>Hard drives at home, yeah.</dialogue>
    <character>TECH</character>
    <dialogue>That's good. This one's dead.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. MACJESUS - DAY</stage_direction>
    <scene_description>Salander against the store window , cell phone to her ear .</scene_description>
    <character>SECRETARY</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>I'm sorry, he's booked all day.</dialogue>
    <character>SALANDER</character>
    <dialogue>It'll take five minutes. It's important.</dialogue>
    <character>SECRETARY</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Hold, please.</dialogue>
    <scene_description>Salander waits . Watches people stare at her like they always do . The secretary comes back on .</scene_description>
    <character>SECRETARY</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Seven o'clock.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. OFFICE BUILDING - STOCKHOLM - NIGHT</stage_direction>
    <scene_description>Salander comes past a janitor waxing a long , otherwise empty corridor . At the far end , she opens her new guardian 's office door .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BJURMAN'S OFFICE - NIGHT</stage_direction>
    <scene_description>As Bjurman reviews a McJesus invoice , Salander waits . The thick atmosphere reminds her of all the others she has sat in with school principals , shrinks and cops .</scene_description>
    <character>BJURMAN</character>
    <dialogue>Have you ever had an STD?</dialogue>
    <parenthetical>( nothing from her . )</parenthetical>
    <dialogue>When's the last time you were tested for HIV?</dialogue>
    <parenthetical>( nothing . )</parenthetical>
    <dialogue>How many partners have you had in the last month?</dialogue>
    <parenthetical>( nothing . )</parenthetical>
    <dialogue>How many were men?</dialogue>
    <scene_description>That last one seems to amuse him ; none amuse her .</scene_description>
    <character>BJURMAN</character>
    <dialogue>I'm required to ask you these things. It's a matter of health.</dialogue>
    <character>SALANDER</character>
    <dialogue>Write down anything you want.</dialogue>
    <scene_description>Bjurman sighs . Sets the form aside and looks at the McJesus invoice again .</scene_description>
    <character>BJURMAN</character>
    <dialogue>Why do you need such an expensive computer?</dialogue>
    <character>SALANDER</character>
    <dialogue>For work.</dialogue>
    <character>BJURMAN</character>
    <dialogue>Making coffee and sorting mail.</dialogue>
    <character>SALANDER</character>
    <dialogue>I should n't even have to ask. I should have control of my money like before.</dialogue>
    <character>BJURMAN</character>
    <dialogue>And you will. Once you show me you can be sociable and get along with people. Can you do that?</dialogue>
    <parenthetical>( nothing from her . )</parenthetical>
    <dialogue>Shall we start with me?</dialogue>
    <parenthetical>( pause . )</parenthetical>
    <dialogue>Shall we start now?</dialogue>
    <scene_description>As he comes around the desk , she eyes a sharp letter opener sticking out above some pens in a coffee mug a child has painted with the word , ` daddy . '</scene_description>
    <character>BJURMAN</character>
    <dialogue>If you're nice to me, I'll be nice to you. That's how normal people are.</dialogue>
    <scene_description>He stands in front of her , his crotch at her eye level .</scene_description>
    <character>BJURMAN</character>
    <dialogue>You've done this before. You know what to do.</dialogue>
    <parenthetical>( she does n't do anything . )</parenthetical>
    <dialogue>Do you want this computer or not?</dialogue>
    <scene_description>He takes her hand and places it on the crotch of his trousers .</scene_description>
    <character>BJURMAN</character>
    <dialogue>You feel that? That's gaberdine. Unzip them.</dialogue>
    <parenthetical>( she does . )</parenthetical>
    <dialogue>And.</dialogue>
    <parenthetical>( she tugs at his underwear . )</parenthetical>
    <dialogue>And.</dialogue>
    <parenthetical>( she does n't move ; he smiles . )</parenthetical>
    <dialogue>I like the reticence. I prefer a whore who pretends she is n't. It's almost convincing.</dialogue>
    <scene_description>He grabs her hair and roughly pulls her head toward him .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BJURMAN'S OFFICE - LATER - NIGHT</stage_direction>
    <scene_description>Salander eats some toothpaste in Bjurman 's private bathroom . When she returns to the office , she finds him calmly writing a check .</scene_description>
    <character>BJURMAN</character>
    <dialogue>Here you go. As promised.</dialogue>
    <scene_description>He holds it out to her , but when she reaches for it , pulls it back a little .</scene_description>
    <character>BJURMAN</character>
    <dialogue>I know you're not thinking about telling anyone about our date. Enjoy your computer games.</dialogue>
    <scene_description>She takes the check and leaves .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SALANDER'S APARTMENT - LATER - NIGHT</stage_direction>
    <scene_description>She sits cross - legged in the dark . Thinking . Or plotting . The dragon tattoo visible on her bare back .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. AIRLINE - IN FLIGHT - DAY</stage_direction>
    <scene_description>Blomkvist , who does n't care for flying , pours two mini - bottles of vodka into a plastic cup .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. LONDON - DAY</stage_direction>
    <scene_description>He sprays Binaca in his mouth . Then , careful to look both ways , crosses the street to an investment bank .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. OFFICE - INVESTMENT BANK - DAY</stage_direction>
    <scene_description>Blomkvist approaches a desk . The brass name plate on it reads , Anita Vanger .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Excuse me. I'm sure I should have made an appointment.</dialogue>
    <character>ANITA</character>
    <dialogue>It's fine. Please. Have a seat.</dialogue>
    <scene_description>The accent is all British . She 's been here much longer than her home country . No trace of Swedish anymore . He offers his hand -</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>I'm Mikael.</dialogue>
    <character>ANITA</character>
    <dialogue>Mikael. How do you do.</dialogue>
    <scene_description>As he sits , she regards him a little more carefully .</scene_description>
    <character>ANITA</character>
    <dialogue>You're looking for investment counseling, Mikael?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I would if had any money to invest.</dialogue>
    <character>ANITA</character>
    <dialogue>Excuse me?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I'm writing a biography of your uncle Henrik. That's why I'm here.</dialogue>
    <scene_description>She stares at him . He waits for the response Cecilia predicted , but it does n't come .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CAFE - LONDON - DAY</stage_direction>
    <scene_description>They sit together at a little table on the sidewalk .</scene_description>
    <character>ANITA</character>
    <dialogue>How is Henrik?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Good. Engaging. I like him.</dialogue>
    <scene_description>She does , too .</scene_description>
    <character>ANITA</character>
    <dialogue>I have n't seen him in over 30 years. Or my sister. Or anyone else in my family.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Most of what I'm writing about predates that, so your recollections are valid.</dialogue>
    <character>ANITA</character>
    <dialogue>I would n't know where to start, if that was a question.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I can narrow it. I've gotten up to the 1960s. To the event that altered everything in Henrik's life.</dialogue>
    <character>ANITA</character>
    <dialogue>Harriet.</dialogue>
    <parenthetical>( he nods . )</parenthetical>
    <dialogue>Everything I knew about that I told to - whatever his name was - that policeman - when it happened.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Morell.</dialogue>
    <character>ANITA</character>
    <dialogue>My recollections then were a lot better than they are now.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I'm not speaking of the crime itself. I'm trying to get a clearer sense of what Harriet was like. Particularly, toward the end.</dialogue>
    <character>ANITA</character>
    <dialogue>She was messed up. Like all us Vanger kids. Crazy mother. Drunken father. At least hers was n't a Nazi like mine.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Was he abusive?</dialogue>
    <character>ANITA</character>
    <dialogue>Mine?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Hers.</dialogue>
    <character>ANITA</character>
    <dialogue>I never saw it myself, but you could tell something was going on. One day she'd be withdrawn. The next she'd be putting on makeup and wearing the tightest sweater she had to school. The next she'd be studying a Bible like a nun - no Vanger was ever religious - can you imagine? Obviously, she was very unhappy.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>She never confided in you what about, specifically?</dialogue>
    <character>ANITA</character>
    <dialogue>There was no specifically. It was everything. It was being part of that family. Henrik's the only decent person in it.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>What do you think happened to her?</dialogue>
    <character>ANITA</character>
    <dialogue>Everyone knows what.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>But you have no. thoughts about why, or who.</dialogue>
    <character>ANITA</character>
    <dialogue>All I know is I always felt sorry for her. Even more than for myself. I got out of there when I was 18 and never went back. She would have done the same but did n't make it to 18.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. STOCKHOLM - DAY</stage_direction>
    <scene_description>Salander , on a park bench , debates with herself if she wants to make the call on the cell in her hand . She scrolls to `` NB '' and hits send . It connects .</scene_description>
    <character>SALANDER</character>
    <dialogue>Mr. Bjurman, please. It's Lisbeth Salander.</dialogue>
    <parenthetical>( the call is put through . )</parenthetical>
    <dialogue>. I'm fine. I'm sorry I missed our appointment. I had a lot of work. no, nothing to be concerned about. I need another advance on my allowance. Can I come to your office tonight? I do n't need a pen, what's the address?</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT/INT. HEDEBY ISLAND - TAXI - MOVING - DUSK</stage_direction>
    <scene_description>The taxi that first brought him here to the island , crosses the bridge . Again , Blomkvist regards the Middle Eastern driver , who regards him in the rearview mirror .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BJURMAN'S APARTMENT BUILDING - NIGHT</stage_direction>
    <scene_description>Outside the building 's entrance with a backpack slung over her shoulder , Salander presses an apartment button . As she waits , she notes there 's no security camera .</scene_description>
    <character>BJURMAN</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>Yes?</dialogue>
    <character>SALANDER</character>
    <dialogue>It's me.</dialogue>
    <scene_description>The door buzzes . She pushes it open .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BJURMAN'S APARTMENT BUILDING - NIGHT</stage_direction>
    <scene_description>She moves along a hallway with both purpose and dread . Knocks on his door . It opens , revealing him in a robe .</scene_description>
    <character>BJURMAN</character>
    <dialogue>Come on in.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BJURMAN'S APARTMENT - CONTINUOUS</stage_direction>
    <scene_description>She takes in the layout quickly : living room , dining area , kitchen , short hallway to a closed door .</scene_description>
    <character>BJURMAN</character>
    <dialogue>Like it?</dialogue>
    <character>SALANDER</character>
    <dialogue>It's nice.</dialogue>
    <character>BJURMAN</character>
    <dialogue>It's home.</dialogue>
    <parenthetical>( pause . )</parenthetical>
    <dialogue>So, what do you need money for this time? Grand Theft Auto 5?</dialogue>
    <character>SALANDER</character>
    <dialogue>Food.</dialogue>
    <scene_description>He smiles . Steps toward her . Lifts her chin .</scene_description>
    <character>BJURMAN</character>
    <dialogue>How are you? Been thinking about last time? Decided you wanted to see me again?</dialogue>
    <character>SALANDER</character>
    <dialogue>I just want my money.</dialogue>
    <character>BJURMAN</character>
    <dialogue>Well, let's see if I can help you out with that.</dialogue>
    <scene_description>He walks to the hallway . She does n't . He holds out his hand . She finally joins him . As they step into the bedroom , he roughly pushes her toward the bed .</scene_description>
    <character>SALANDER</character>
    <dialogue>Wait.</dialogue>
    <scene_description>She puts her backpack and leather jacket on a chair . Sits on the edge of the bed . He stands over her . She knows what she 's supposed to do , but seems unable to .</scene_description>
    <character>BJURMAN</character>
    <dialogue>Is there a problem?</dialogue>
    <character>SALANDER</character>
    <dialogue>I just want to know, am I going to have to do this every time I need money to eat?</dialogue>
    <character>BJURMAN</character>
    <dialogue>It's so cute when you do that surly thing. Take my hand</dialogue>
    <scene_description>She reaches out to it and before she can react , there 's a handcuff around the wrist . He quickly cuffs the other to his own wrist . This is bad . She tries to get out . He gets her in a strangle hold and chokes her into unconsciousness .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BJURMAN'S APARTMENT - LATER - NIGHT</stage_direction>
    <scene_description>She comes to , on her stomach , sees her wrists cuffed to the headboard posts , her ankles secured to the foot posts with silk ties , and scissors slicing her jeans off . She starts to scream and he stuffs her mouth with her underwear .</scene_description>
    <character>BJURMAN</character>
    <dialogue>Please. I have neighbors.</dialogue>
    <scene_description>He lights a couple candles . Switches on some New Age music .</scene_description>
    <character>BJURMAN</character>
    <dialogue>What we're going to do now is teach you the value of money.</dialogue>
    <scene_description>He watches her struggle . But she 's not going anywhere . He tears open a condom package with his teeth .</scene_description>
    <character>BJURMAN</character>
    <dialogue>I forget - did I ask you before if you liked anal sex?</dialogue>
    <scene_description>He crams a pillow under her stomach and climbs on top of her . She keeps fighting but there 's not much she can do handcuffed . Eventually , she retreats to another place inside herself . She 's had to go here before in her life ; it 's the only place to go in such situations .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE - NIGHT</stage_direction>
    <scene_description>The cat turns its head to a sound Blomkvist ca n't hear . He has Harriet 's box of belongings out again and looks at photos of her school friends in her wallet . Then picks up the Bible . Handwritten on the inside cover is Harriet Vanger . He opens it at random . Hebrews :</scene_description>
    <character>HARRIET</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Faith is the assurance of things hoped for, the evidence of things not seen. Through faith we understand that the world was created by the word of God - and that what is seen was not made of things that are visible.</dialogue>
    <scene_description>He sets it down . Rubs his eyes . Everything - his daughter , his life , this cabin , the word of God - is depressing .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BJURMAN'S APARTMENT - DAWN</stage_direction>
    <scene_description>Dawn light outside the living room window . Bjurman , at his dining table with a glass of orange juice , writing out a check . In the bedroom , Salander slips on her leather jacket , shoulders her backpack , hobbles out to the living room .</scene_description>
    <character>BJURMAN</character>
    <dialogue>I'll drive you home.</dialogue>
    <character>SALANDER</character>
    <dialogue>I can get home on my own.</dialogue>
    <character>BJURMAN</character>
    <dialogue>Are you sure?</dialogue>
    <scene_description>It 's bizarre : his manner seems to be one of genuine concern . She nods . He hands her the check . Then opens the door for her like a perfect gentleman .</scene_description>
    <character>BJURMAN</character>
    <dialogue>So, next Saturday, here?</dialogue>
    <scene_description>She nods . Leaves . The door closes .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STOCKHOLM - DAWN</stage_direction>
    <scene_description>A lone figure hobbles through the empty streets .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SALANDER'S APARTMENT - DAWN</stage_direction>
    <scene_description>She sets a check down . On the memo line he 's neatly written , `` for food . '' She takes a bottle of water from the fridge and drinks .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SALANDER'S APARTMENT - DAWN</stage_direction>
    <scene_description>Shower water hits the dragon tattoo on her shoulder blade and runs down past several others . By the time the water reaches the drain it has turned red .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HEDEBY ISLAND - DAY</stage_direction>
    <scene_description>Coming through trees with a bag of groceries , Blomkvist sees a BMW parked outside his cottage .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. COTTAGE - MOMENTS LATER - DAY</stage_direction>
    <scene_description>Blomkvist taps on the car 's fogged - up driver 's window . A hand inside wipes at it , revealing Erika . She lowers it a crack .</scene_description>
    <character>ERIKA</character>
    <dialogue>Is it any warmer inside?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>No.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE - DAY</stage_direction>
    <scene_description>As he tries to get some logs in the fireplace going , using more pages torn from one of his books , Erika wraps herself in a blanket . The cat , who has no trouble with the cold , naps on the paperwork on the desk .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>What have I missed besides you?</dialogue>
    <character>ERIKA</character>
    <dialogue>The steady exodus of two - thirds of our advertisers.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Seriously?</dialogue>
    <character>ERIKA</character>
    <dialogue>Is that hard to believe? Sitting up here in Lappland with your cat?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I'm not. I'm working.</dialogue>
    <character>ERIKA</character>
    <dialogue>I can see.</dialogue>
    <scene_description>What she can see is the Vanger research covering the walls and table surfaces , and that the threads of the family tree lead to a photograph of Vanger at the top .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Would you like to meet him?</dialogue>
    <character>ERIKA</character>
    <dialogue>Maybe in about an hour. If you're interested.</dialogue>
    <scene_description>He is .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. VANGER MANOR - EVENING</stage_direction>
    <scene_description>Vanger and Martin all but ignore Blomkvist as they chat with Erika over dinner . They seem charmed by her .</scene_description>
    <character>VANGER</character>
    <dialogue>I apologize if you're having financial problems at the magazine in Mikael's absence.</dialogue>
    <character>ERIKA</character>
    <dialogue>We'll work through them.</dialogue>
    <character>VANGER</character>
    <dialogue>Are you sure?</dialogue>
    <scene_description>Erika looks at Blomkvist , but he has n't talked to them about this .</scene_description>
    <character>MARTIN</character>
    <dialogue>How long do you think you can hang on? Six months or so?</dialogue>
    <character>ERIKA</character>
    <dialogue>That sounds about right.</dialogue>
    <character>VANGER</character>
    <parenthetical>( cheerfully . )</parenthetical>
    <dialogue>You know, I used to be in the newspaper business. We owned six dailies back in the 50's.</dialogue>
    <character>MARTIN</character>
    <dialogue>We still own one. The Courier, here in town.</dialogue>
    <character>VANGER</character>
    <dialogue>I let my nephew Birger run it since he ca n't run anything else.</dialogue>
    <scene_description>Erika nods politely .</scene_description>
    <character>MARTIN</character>
    <dialogue>So what do you say to taking on a partner?</dialogue>
    <character>ERIKA</character>
    <dialogue>We've never considered it before. We value our independence.</dialogue>
    <character>MARTIN</character>
    <dialogue>Your independence is dependant on advertisers - if we're being honest. However much you think that is, you'd retain. We do n't care about content.</dialogue>
    <scene_description>Blomkvist suddenly feels like someone coming late to a party .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Excuse me. Did I miss something?</dialogue>
    <character>VANGER</character>
    <dialogue>We're talking about an investment in the magazine.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I gather. Why would you want to do that?</dialogue>
    <character>MARTIN</character>
    <dialogue>Not for the return, that's for sure.</dialogue>
    <character>VANGER</character>
    <parenthetical>( to Erika . )</parenthetical>
    <dialogue>I feel bad that I've take Mikael away from you at the worst possible time. This is the right thing to do. The moral thing. That's one reason.</dialogue>
    <character>ERIKA</character>
    <dialogue>And.</dialogue>
    <character>VANGER</character>
    <dialogue>The enemies of my friends are my enemies. I hate Wennerstrom as much as you hate what he's done to you.</dialogue>
    <scene_description>Silence .</scene_description>
    <character>VANGER</character>
    <dialogue>So what do you say?</dialogue>
    <scene_description>Erika half - shrugs to say she 'll consider it .</scene_description>
    <character>VANGER</character>
    <dialogue>Is that a maybe?</dialogue>
    <scene_description>She nods .</scene_description>
    <character>VANGER</character>
    <dialogue>Wonderful! More wine, Anna.</dialogue>
    <scene_description>Blomkvist looks at Erika , but she glances away to Vanger .</scene_description>
    <character>VANGER</character>
    <dialogue>I think Mikael is adapting well to rustic life, by the way.</dialogue>
    <character>ERIKA</character>
    <dialogue>Have you seen him try to make a fire?</dialogue>
    <character>VANGER</character>
    <dialogue>Put the logs on end, like this.</dialogue>
    <scene_description>He makes a teepee shape with his hands , like praying .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE - LATER - NIGHT</stage_direction>
    <scene_description>Erika lights a teepee of logs in the fireplace .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>How long have you been discussing this with them?</dialogue>
    <character>ERIKA</character>
    <dialogue>I have n't been. They asked me to come up yesterday.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Why did n't you tell me?</dialogue>
    <character>ERIKA</character>
    <dialogue>Why would I. You live in the woods.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>So I deserve to be treated like an idiot?</dialogue>
    <character>ERIKA</character>
    <dialogue>I wanted to hear what they had to say. You would've said no before they could.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I'm saying it now. It's not a good idea.</dialogue>
    <character>ERIKA</character>
    <dialogue>You heard me tell them we could hang on for six months. I was lying. Without their money we'll be out of business in three.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>You do n't know this family. They're crazy.</dialogue>
    <character>ERIKA</character>
    <dialogue>We're not marrying into it.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>We are if we do this. It's exactly what we're doing.</dialogue>
    <character>ERIKA</character>
    <dialogue>You want to say no? Let's say no. Instead of 50 percent of something, let's own 100 percent of nothing.</dialogue>
    <scene_description>The logs crackle as flames climb them . She gets up , comes past him , unbuttoning her shirt as she disappears into the bedroom . He stares at the fire .</scene_description>
    <character>ERIKA</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>Mikael?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>What.</dialogue>
    <character>ERIKA</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>I'm leaving this God - forsaken island in the morning.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>So?</dialogue>
    <character>ERIKA</character>
    <dialogue>So are you coming to bed or not.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. TATTOO PARLOR - DAY</stage_direction>
    <scene_description>Salander regards a selection of forearm tattoos : barbed wire , Celtic bands , strings of leaves and flowers .</scene_description>
    <character>TATTOO ARTIST</character>
    <dialogue>You thinking one arm or both?</dialogue>
    <character>SALANDER</character>
    <dialogue>Wrists and ankles. But none of these. Just a plain band, like handcuffs.</dialogue>
    <character>TATTOO ARTIST</character>
    <dialogue>It's sensitive there. Particularly the ankles. It's gon na hurt.</dialogue>
    <scene_description>That does n't bother her in the least . She rolls up her sleeves and watches him ready the tattoo gun .</scene_description>
    <character>SALANDER</character>
    <dialogue>How much do one of those cost?</dialogue>
    <scene_description>A bland financial announcer reading the news . The graphic to the side of him is the distinctive V.I. logo of Vanger Industries .</scene_description>
    <character>ANNOUNCER</character>
    <dialogue>Petrochemical manufacturer Vanger Industries has acquired a controlling interest in Millennium magazine which according to analysts has been in financial trouble since last December when its cofounder Mikael Blomkvist was found guilty of libel against Hans - Erik Wennerstrom -</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. MILLENNIUM'S OFFICES - DAY</stage_direction>
    <scene_description>A news crew has crammed itself inside Erika 's office , where a reporter interviews her -</scene_description>
    <character>ERIKA</character>
    <dialogue>We made a serious mistake last year, and we regret it. But we're moving forward, and this is the first step.</dialogue>
    <character>REPORTER 2</character>
    <dialogue>You would n't say the first step was your sacking of Mr. Blomkvist?</dialogue>
    <character>ERIKA</character>
    <dialogue>That's inaccurate. Read the original press release, Viggo. I did n't fire him. He's on sabbatical.</dialogue>
    <character>REPORTER 2</character>
    <dialogue>Where.</dialogue>
    <character>ERIKA</character>
    <dialogue>I'm not sure, to be honest with you.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT/EXT. COTTAGE - DAY</stage_direction>
    <scene_description>He 's at his desk , the cat in his lap , reviewing the album of photos taken on the day Harriet disappeared . They 're arranged chronologically , and Vanger has noted the approximate time of day of each . The first several were taken on the manor grounds , by family members of each other . The next couple taken in town of the parade . Then dozens taken on and around the bridge of the dramatic accident . He hears the sound and glances out to see a television news van driving toward Vanger 's manor -</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. VANGER MANOR - DAY</stage_direction>
    <scene_description>A crew is set up in the yard by the water , interviewing Henrik and Martin . Under his suit jacket Henrik wears a cheerful yellow shirt . Birger unhappily looks on .</scene_description>
    <character>MARTIN</character>
    <dialogue>Millennium is an excellent magazine. We also think it's undervalued right now, which is good business for us.</dialogue>
    <character>REPORTER 3</character>
    <dialogue>Is any magazine really undervalued today. How many will be around tomorrow?</dialogue>
    <character>VANGER</character>
    <dialogue>There's another reason. I do n't like bullies.</dialogue>
    <character>REPORTER 3</character>
    <dialogue>Are you referring to Mr. Wennerstrom?</dialogue>
    <character>VANGER</character>
    <dialogue>I'm referring to anyone who tries to sue their enemies into submission. If Mr. Wennerstrom would like to try it again, he'll find himself fighting a company that can afford to fight back.</dialogue>
    <character>REPORTER 3</character>
    <dialogue>You're enjoying this.</dialogue>
    <character>VANGER</character>
    <dialogue>Already it's the most fun I've had in years.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. HARDWARE STORE - STOCKHOLM - DAY</stage_direction>
    <scene_description>As a clerk rings up the items Salander is buying - bright yellow duct tape and a plastic protective mask - she watches a shot on a TV here of Wennerstrom being interviewed outside his offices -</scene_description>
    <character>WENNERSTROM ON TV</character>
    <dialogue>I've always admired Henrik Vanger. He's a titan - and a gentleman. But he's also quite old now - which may explain how he could be taken in by a convicted liar.</dialogue>
    <scene_description>The report segues to another story . The clerk hands Salander her receipt .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SALANDER'S APARTMENT - LATER</stage_direction>
    <scene_description>Her hardware store purchases , along with some fresh DVD - R 's , a couple of plastic bottles of ink , and McDonald 's Kids Meal wrappers , sit by her laptop . She 's not typing on its keyboard , but characters are appearing nonetheless as someone somewhere else , writes an email : The From box reads : h wennerstrom The To box reads : l jansson 116 INT . COTTAGE - DAY - CONTINUED 116 Blomkvist has returned to the accident photos . Pauses on a blurry one of the fire crew , the focus inadvertently on the background - Vanger 's manor . What caught his attention is a figure in one of the upstairs windows . He checks a scribbled floor plan of the manor and sees that it 's Harriet 's bedroom . But he 's not sure if it 's Harriet . The figure is too soft to identify - even with a magnifying glass - but is wearing a light - colored dress and has light hair . He glances to the family tree on the wall - the teenage Vanger girls ' photos - Three INSERTS : Harriet . Cecelia . Anita . They all have light hair , and , frankly , all look alike . He moves on to the parade pictures . To the one Vanger said before was the last picture taken of Harriet alive . It 's not really of her . It 's a wide shot of the parade itself - but she can be seen in the background across the street with her friends , watching a float - atop which some women in harem outfits dance - pass by . He slips it from its corner - fasteners and turns it over . There 's a Hedestad Courier copyright printed on the back . He turns it over again and looks at the photo itself .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HEDESTAD - DAY</stage_direction>
    <scene_description>Guided by the photo , he walks along the town 's main street to the approximate place from which it was taken - outside a haberdashery window - but it 's still not right . The photo was shot from a higher than street level angle . He looks to a second story window above the store . Then crosses the street to where Harriet was standing when the picture was taken . Looks back at the haberdashery where , now , the owner peers out at him .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HEDESTAD - LATER - DAY</stage_direction>
    <scene_description>On the pay phone outside the gas station -</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>I want to look at what the paper has in its archive on the parade.</dialogue>
    <character>VANGER</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>You already have what it has. In the album.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I do n't think so.</dialogue>
    <character>VANGER</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Why.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Because no photographer at any newspaper in the world takes just two photos of anything - especially after having to climb a flight of stairs.</dialogue>
    <character>VANGER</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>The bridge accident happened during the parade. He rushed over.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Maybe.</dialogue>
    <scene_description>Silence . Then -</scene_description>
    <character>VANGER</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Mikael, what have you found?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Nothing probably. But I know photographers. They're the most insecure people on earth. If it's out of focus, or they do n't like the framing, they bury it.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. HEDESTAD COURIER - ESTABLISHING</stage_direction>
  </scene>
  <scene>
    <stage_direction>INT. HEDESTAD COURIER - DAY</stage_direction>
    <scene_description>Blomkvist follows the paper 's youngish photo editor up narrow stairs to an attic .</scene_description>
    <character>PHOTO EDITOR</character>
    <dialogue>The current archive is on CD's, naturally. The older stuff, still negatives. What general period are you interested in?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>September, 1966.</dialogue>
    <scene_description>She glances back at him . The date means something to her , but she chooses not to comment .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COURIER ATTIC - DAY</stage_direction>
    <scene_description>She pulls four thick binders off a shelf from September 1966 alone , proving Blomkvist 's point about photographers - and piles them up next to a light - box and scanner .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Thank you.</dialogue>
    <scene_description>He waits for her to leave . She seems reluctant to .</scene_description>
    <character>PHOTO EDITOR</character>
    <dialogue>Is this about Harriet Vanger?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>You're too young to know about that.</dialogue>
    <character>PHOTO EDITOR</character>
    <dialogue>Everyone here grows up knowing about her. It's how we're taught about strangers.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BJURMAN'S APARTMENT - STOCKHOLM - NIGHT</stage_direction>
    <scene_description>The door opens revealing Salander . Bjurman seems a little surprised to see her at his doorstep .</scene_description>
    <character>BJURMAN</character>
    <dialogue>My dear Lisbeth, how are you?</dialogue>
    <character>SALANDER</character>
    <dialogue>I need more money. I need to pay my rent.</dialogue>
    <scene_description>She looks like a schoolgirl with her little backpack over her shoulder . How did he ever get so lucky ?</scene_description>
    <character>BJURMAN</character>
    <dialogue>Come on in.</dialogue>
    <scene_description>She steps inside . He takes her hand and leads her toward the bedroom . Her other hand slips into her jacket pocket .</scene_description>
    <character>BJURMAN</character>
    <dialogue>Since we're still figuring out what you like, I went shopping for some new toys.</dialogue>
    <character>SALANDER</character>
    <dialogue>Me, too.</dialogue>
    <character>BJURMAN</character>
    <dialogue>You, too? What did you buy?</dialogue>
    <scene_description>She pulls a Taser from her pocket and jams it under his chin , firing off 75,000 volts -</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. COTTAGE - NIGHT</stage_direction>
    <scene_description>Set down on the rugged landscape under an almost moonless night sky , the cottage looks vulnerable .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE - NIGHT</stage_direction>
    <scene_description>The cat , curled up on a chair , jerks its head up at a sound neither we nor Blomkvist can hear , and stays absolutely still , listening . Blomkvist scrolls through the Courier negatives he has converted into positives and has loaded into Photoshop . He was right . Many more parade pictures were shot that day . Several at street level - a marching band , floats , children with balloons , some in better focus than others . He reaches the first of the higher - angle shots from the floor above the haberdashery , scans the crowd lining the street . Harriet is n't in it . But in the next she appears at the edge of the frame with her school friends . In the next , she 's further into frame . And the next , standing in the same spot he stood earlier today .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE - NIGHT</stage_direction>
    <scene_description>Blomkvist selects all 18 of the high - angle parade photographs , transfers them to an iPhoto file , and reopens them as a ` slide show . ' The first few , accompanied by the default music , Minuet in G , dissolve at two - second intervals . Too long . Too distracting with the music . And too wide . He adjusts the size function - closer on Harriet gets rid of the dissolve effect and music and reduces the time - interval to make the transitions as quick as possible . He hits ` play ' again and watches a short jerky ` silent film ' - a kind of electronic flip - book : Harriet arrives with her friends . Moves along the street . Stops and faces the parade . Says something to her friends . Laughs . Watches the float with the harem girls on it . Smiles . Sees something to her left . Turns her head slightly toward it . Her eyes widen in fear . She looks down . She moves off . Her friends look after her confused . And then she 's gone . Blomkvist backs up to the frame of Harriet looking off with fear in her eyes , and for the first time believes without a doubt what Vanger has believed for 40 years : She was murdered . Whoever she saw across the street followed her and killed her . The cat watches him .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BJURMAN'S APARTMENT - NIGHT</stage_direction>
    <scene_description>Bjurman slowly comes to .</scene_description>
    <character>SALANDER</character>
    <dialogue>Good. You're alive.</dialogue>
    <scene_description>It takes him a moment to realize it 's true . Another to realize it might be better if he was n't since he 's naked on the floor , face - up , wrists and ankles bound . He tries to cry out and realizes he 's also gagged . She emerges from the shadows , stands over him , and he sees that her eyes are ringed in black mascara like some kind of ghoulish raccoon . She looks insane . As she steps out of his field of view , and his hands struggle against the restraints .</scene_description>
    <character>SALANDER</character>
    <dialogue>Recognize this?</dialogue>
    <scene_description>He cranes his neck to see she 's by her backpack that 's resting on a chair .</scene_description>
    <character>SALANDER</character>
    <dialogue>I had it with me last time. I set it here. Remember?</dialogue>
    <parenthetical>( he does n't . )</parenthetical>
    <dialogue>See this snap? It's not a snap. It's a wide - angle micro - lens.</dialogue>
    <scene_description>She takes a DVD - R from the backpack , puts it in his player , flips his plasma TV on with a remote . She got it all - what he did to her - the rape - in HD .</scene_description>
    <character>SALANDER</character>
    <dialogue>This shows you sodomizing a mentally impaired girl. If it's ever seen outside this room, who'll be institutionalized then?</dialogue>
    <scene_description>He starts to whimper .</scene_description>
    <character>SALANDER</character>
    <dialogue>Here's what's going to happen. Pay attention.</dialogue>
    <scene_description>He ca n't . He ca n't even look at her . His life is over . He weeps into the gag .</scene_description>
    <character>SALANDER</character>
    <dialogue>Look at me.</dialogue>
    <scene_description>He wo n't . She strides to her backpack . Takes out a large dildo . Gets on her knees , and works it into his ass . She can only get it about halfway up . She has to stand up and kick it the rest of the way with her boot . He howls into the gag .</scene_description>
    <character>SALANDER</character>
    <dialogue>Do I have your attention now?</dialogue>
    <scene_description>She does indeed . He vigorously nods his head , now , and after everything she says -</scene_description>
    <character>SALANDER</character>
    <dialogue>When you can walk again, which I admit could be a while, we're going to my bank. You'll tell them I alone have access to my account. After that, you'll never contact me again. Each month you'll write a report of a meeting we wo n't have. You'll describe how well I'm doing, how sociable I'm becoming. Then you'll negotiate with the court to have my declaration of incompetence lifted. If you fail, this video will spread across the Internet like a virus.</dialogue>
    <parenthetical>( he stares in horror . )</parenthetical>
    <dialogue>If something happens to me - if I get hit by a car - if you hit me with a car - same thing, it uploads automatically.</dialogue>
    <scene_description>She fishes his apartment keys from his trousers . Shows him that she has them .</scene_description>
    <character>SALANDER</character>
    <dialogue>I'm taking these with me. I'll be checking on you. If I ever find anyone in here with you, whether she came of her own free will or not -</dialogue>
    <scene_description>His eyes dart to the TV as he nods that he understands .</scene_description>
    <character>SALANDER</character>
    <dialogue>No. Not the video.</dialogue>
    <scene_description>She kicks him . Then straddles his fat gut and looks him in the eye .</scene_description>
    <character>SALANDER</character>
    <dialogue>I will kill you.</dialogue>
    <scene_description>And he knows she means it .</scene_description>
    <character>SALANDER</character>
    <dialogue>Do you doubt anything I've said?</dialogue>
    <parenthetical>( he shakes his head no . )</parenthetical>
    <dialogue>Do you doubt what's in the reports about me? What do they say when you sum them up? They say I'm insane.</dialogue>
    <parenthetical>( he shakes his head no . )</parenthetical>
    <dialogue>No, it okay. You can nod because it's true. I am insane.</dialogue>
    <scene_description>She gets up off him , rummages through her backpack again .</scene_description>
    <character>SALANDER</character>
    <dialogue>I know it'll be hard for you to abide by my rules. Especially no more sex. I'm going to make it easier for you.</dialogue>
    <scene_description>She puts on a plastic surgical mask . He fears the next thing he 'll see is a pair of scissors in her hand , but it is n't . It 's something else he does n't recognize . She straddles him again . He squirms under her weight .</scene_description>
    <character>SALANDER</character>
    <dialogue>Lie still. I've never done this before.</dialogue>
    <scene_description>He sees that the thing in her hand is some kind of surgical device , a shiny stripped - down gun with a sharp point and a plastic ink bottle where the bullets would go .</scene_description>
    <character>SALANDER</character>
    <dialogue>There will be some blood.</dialogue>
    <scene_description>He struggles to twist his body away , but it 's useless . She digs the tattooing gun 's needle into his chest and begins dragging it back and forth . He screams as dots of blood spatter her plastic mask .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BJURMAN'S APARTMENT - DAWN - ESTABLISHING</stage_direction>
  </scene>
  <scene>
    <stage_direction>INT. BJURMAN'S APARTMENT - DAWN</stage_direction>
    <scene_description>The job has taken her all night . The sky outside the living room window is beginning to lighten . She drinks a glass of water in the kitchen , wipes her prints from it . She crosses to the bedroom where Bjurman 's toys have been wiped cleaned and put back in the dresser . Picks up her backpack . Looks at him . He 's unconscious . She sets handcuff key next to a dark stain on his stomach . We stay on the key as she leaves the room . Hearing the front door open and close , we rise up to see his entire naked body on the bed . Tattooed into his skin in big letters , from his nipples to his groin , is :</scene_description>
    <character>I AM A RAPIST PIG</character>
    <dialogue />
  </scene>
  <scene>
    <stage_direction>EXT. HEDEBY ISLAND - DAY</stage_direction>
    <scene_description>Returning from a walk and a smoke , Blomkvist sees - sitting outside the cottage , petting his cat - Harriet . Of course it ca n't be her , but it is a teenage girl who resembles the old pictures of her . Seeing him , she waves . It 's his daughter .</scene_description>
    <character>PERNILLA</character>
    <dialogue>Hi.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Hi. What are you doing here?</dialogue>
    <character>PERNILLA</character>
    <dialogue>On my way to Skelleftea. I can only stay a couple hours.</dialogue>
    <scene_description>He arrives and gives her a hug .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>What's in Skelleftea?</dialogue>
    <character>PERNILLA</character>
    <dialogue>Light of Life Bible Camp.</dialogue>
    <scene_description>Blomkvist tries to hide his dismay .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE - DAY</stage_direction>
    <scene_description>He 's made them some coffee , and , of course , sandwiches . Patiently waits for her to finish her silent prayer , and smiles bravely .</scene_description>
    <character>PERNILLA</character>
    <dialogue>They're not dangerous.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>It's fine, Nilla. Whatever you want to do is fine. Everybody needs something.</dialogue>
    <character>PERNILLA</character>
    <dialogue>Just so long as it's not God.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I did n't say that.</dialogue>
    <scene_description>As they eat in silence , Blomkvist ca n't help but think about Harriet and what Vanger said about not giving her his attention when she needed it .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>I'm not around enough to know everything that's going on with you, and I apologize for that. But I'd never want you to not tell me something, even if you think I might not want to hear it.</dialogue>
    <character>PERNILLA</character>
    <parenthetical>( smiles . )</parenthetical>
    <dialogue>That's what I'm doing.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. TRAIN STATION - HEDESTAD - DAY</stage_direction>
    <scene_description>The afternoon train is boarding . It 's not crowded .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>It should have been me visiting you. I'm sorry.</dialogue>
    <character>PERNILLA</character>
    <dialogue>It's okay. Everything's good.</dialogue>
    <scene_description>He nods but does n't believe it any more than she believes he 's okay with Bible Camp . She climbs aboard . Waves .</scene_description>
    <character>PERNILLA</character>
    <dialogue>Bye.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Bye.</dialogue>
    <scene_description>The train begins to move .</scene_description>
    <character>PERNILLA</character>
    <dialogue>Do n't go too hard on the Catholics.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>What?</dialogue>
    <character>PERNILLA</character>
    <dialogue>The article you're writing.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>What are you talking.</dialogue>
    <parenthetical>( about . )</parenthetical>
    <dialogue>-</dialogue>
    <character>PERNILLA</character>
    <dialogue>The Bible quotes on your desk.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>What?</dialogue>
    <scene_description>The train clears the platform . He watches after it . What was she talking about ? He glances absently to the taxi stand . Hussein points to his taxi . Ride ?</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE - LATER - DAY</stage_direction>
    <scene_description>Blomkvist comes in , goes straight to his desk , sifts through the paperwork on it , then sees the Xerox of the last page of Harriet 's address book - the unknown phone numbers - he taped to the lamp - Magda 32016 Sara 32109 R.J. 30114 R.L. 32027 Mari 32018 It could be a coincidence they 're Bible names - Magdalene , Sarah , Mary - or maybe not . He digs through Harriet 's personal things for her Bible . Since all the number sequences begin with ' 3 , ' he goes to the third chapter - Leviticus - notices that its first facing page is faintly dog - eared - finds R.J 's verse - 1:14 - on it :</scene_description>
    <character>HARRIET</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>If a dove is the sinner's offering, the priest shall wring off its head, cleave its wings, and burn it upon the altar.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. COTTAGE - DAY</stage_direction>
    <scene_description>Pinching a cigarette in a shaking hand , Blomkvist pokes numbers on his cell phone . Instead of ringing he hears a beep . `` Retry ? '' appears on the cell screen .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HEDESTAD - DAY</stage_direction>
    <scene_description>Back across the bridge by the gas station , he makes the call on the pay phone .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Detective Morell, it's Mikael Blomkvist.</dialogue>
    <character>MORELL</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>How are you? Not still in Hedestad I hope for your sake.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>The Rebecka Case you mentioned. What was her last name if you recall.</dialogue>
    <character>MORELL</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>Of course I do, but what would it have to do with anything?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Nothing probably.</dialogue>
    <scene_description>As Blomkvist glances to the last page in Harriet 's address book , to R.J. 30114 -</scene_description>
    <character>MORELL</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>Jacobsson. Rebecka Jacobsson.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>How was she killed?</dialogue>
    <character>MORELL</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>Decapitated. Arms cut off. Burned.</dialogue>
    <scene_description>Like the Leviticus dove . A siren . Ambulance coming past , headed for the bridge .</scene_description>
    <character>MORELL</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>But this happened in the 1940's -</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Hang on a second.</dialogue>
    <scene_description>He watches the ambulance speed across the bridge .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>I'm going to call you back.</dialogue>
    <character>MORELL</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>What have you.</dialogue>
    <parenthetical>( found . )</parenthetical>
    <dialogue>-</dialogue>
    <scene_description>Blomkvist hangs up and takes off at a trot toward the bridge -</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. VANGER MANOR - LATER</stage_direction>
    <scene_description>He reaches the manor just as the ambulance is leaving and Martin is climbing into his Range Rover . He looks undone .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>What's happened?</dialogue>
    <character>MARTIN</character>
    <dialogue>We were talking. He started rubbing at his arm. Then collapsed.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Is he.</dialogue>
    <parenthetical>( conscious . )</parenthetical>
    <dialogue>-</dialogue>
    <character>MARTIN</character>
    <dialogue>I ca n't talk, Mikael, I have to.</dialogue>
    <parenthetical>( go . )</parenthetical>
    <dialogue>-</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Go.</dialogue>
    <scene_description>Martin pulls out to follow the ambulance to the hospital . Blomkvist watches after them .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE - EVENING</stage_direction>
    <scene_description>The cat naps while Blomkvist looks up the other Leviticus quotes from Harriet 's list in her dog - eared Bible -</scene_description>
    <character>HARRIET</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>The daughter of any priest who profanes herself by playing the harlot, profanes her father, and shall be burned with fire -</dialogue>
    <character>HARRIET</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>A woman who is a medium or sorcerer shall be put to death by stoning -</dialogue>
    <scene_description>There 's a knock . He tucks the list in the Bible , sets aside and answers the door . Frode comes in .</scene_description>
    <character>FRODE</character>
    <dialogue>The good news is he survived. How he does now, we have to see. He's in ICU. Can I have one of those?</dialogue>
    <scene_description>He points to the table .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>A sandwich?</dialogue>
    <character>FRODE</character>
    <dialogue>A Scotch.</dialogue>
    <scene_description>Blomkvist pours him one , and another for himself .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>I do n't want to be indelicate. But Henrik promised me something when I agreed to do this.</dialogue>
    <character>FRODE</character>
    <dialogue>Wennerstrom.</dialogue>
    <character>BLOMKVIST</character>
    <parenthetical>( nods . )</parenthetical>
    <dialogue>I need to know what he has on him. Now. In case.</dialogue>
    <character>FRODE</character>
    <dialogue>In case he dies? That is indelicate.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>And I apologize.</dialogue>
    <character>FRODE</character>
    <dialogue>I do n't know what he has on him, if you're asking me. And he ca n't tell you in the condition he's in. So. is that it then?</dialogue>
    <scene_description>Silence . Blomkvist drinks . Eventually -</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>We also never discussed who I'd report to if something happened to him.</dialogue>
    <character>FRODE</character>
    <dialogue>You'd report to me, but does it matter? We both know nothing's going to come of this.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I'm not so sure.</dialogue>
    <scene_description>Frode looks at Blomkvist a little more intently .</scene_description>
    <character>FRODE</character>
    <dialogue>What do you mean?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I may have found something.</dialogue>
    <character>FRODE</character>
    <parenthetical>( pause . )</parenthetical>
    <dialogue>You're joking.</dialogue>
    <parenthetical>( Blomkvist is n't . )</parenthetical>
    <dialogue>What did you find?</dialogue>
    <scene_description>Now it 's Blomkvist who studies Frode . He 's not sure he wants to tell him . And even less so the longer he looks .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>The last time I reported something before I was sure of it, it cost me my savings.</dialogue>
    <scene_description>Frode studies him again - wondering perhaps if Blomkvist suspects him .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>I need a research assistant. Can you authorize that?</dialogue>
    <character>FRODE</character>
    <dialogue>Yes. Do you have one?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I can find one.</dialogue>
    <character>FRODE</character>
    <dialogue>I know a good one. She did the background check on you.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>The.</dialogue>
    <character>FRODE</character>
    <dialogue>Do you think we'd hire anyone for something like this without doing one?</dialogue>
    <scene_description>Blomkvist 's brain tries to quickly inventory his life , pausing at its darker recesses . Frode nods .</scene_description>
    <character>FRODE</character>
    <dialogue>Yes, it was quite thorough.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I want to read it.</dialogue>
    <character>FRODE</character>
    <dialogue>That I could n't authorize.</dialogue>
    <scene_description>Blomkvist is n't sure how to play this . Then he is . Sets his napkin down , gets up and begins taking things down from the wall . Frode watches . Then sighs .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STOCKHOLM - DUSK</stage_direction>
    <scene_description>Only a few lights on in the Milton Security building .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ARMANSKY'S OFFICE - DUSK</stage_direction>
    <scene_description>It is n't often a subject of an investigation shows up in his office , but is always awkward when one does .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Mr. Frode was kind enough to share your report with me.</dialogue>
    <parenthetical>( it rests on his lap . )</parenthetical>
    <dialogue>The investigator's name is on it, but I can find no record of her, and I'm pretty good at that sort of thing.</dialogue>
    <character>ARMANSKY</character>
    <dialogue>Would it really matter what her name is?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>It would if I wanted to speak to her, which I do.</dialogue>
    <character>ARMANSKY</character>
    <dialogue>Against policy.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>You sure?</dialogue>
    <character>ARMANSKY</character>
    <dialogue>Just like your sources. You understand.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Let me give you a name then.</dialogue>
    <scene_description>He jots `` Annika Giannini '' on one of Armansky 's Post - Its .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>My sister. She's a lawyer.</dialogue>
    <parenthetical>( gestures to the report . )</parenthetical>
    <dialogue>There's information in here that could only have come from one place. I think you know what I mean.</dialogue>
    <scene_description>Silence . Armansky tries not to look sick . Then -</scene_description>
    <character>ARMANSKY</character>
    <dialogue>The reason you can find no record of her is because her records have been sealed. She's a ward of the State.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>What does that have to do with anything.</dialogue>
    <character>ARMANSKY</character>
    <dialogue>She's had a rough life. Can we not make it rougher on her?</dialogue>
    <scene_description>Blomkvist just sits there , the picture of calm .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. THE MILL - STOCKHOLM - NIGHT</stage_direction>
    <scene_description>Cacophony of loud techno and a fringe clientele . Alone at a table drinking , Salander seems comfortable with the noise and her dateless status , but does n't avoid a glance from an Asian girl at the bar , and does n't tell her to go away when she comes over and motions to the empty chair .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SALANDER'S APARTMENT - MORNING</stage_direction>
    <scene_description>Salander and the girl from the club , asleep in bed , entwined like snakes . Salander wakes , disentangles herself , and is padding to the bathroom when there 's a knock on her door . She stares it . No one ever knocks on her door . But someone knocks on it again . She crosses to it , wrapping herself in a blanket .</scene_description>
    <character>SALANDER</character>
    <dialogue>Who is it?</dialogue>
    <character>BLOMKVIST</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>Mikael Blomkvist.</dialogue>
    <scene_description>Her mind races , as Blomkvist 's did to the news someone had invaded his privacy . She unlocks the door . Cracks it enough to see him . He smiles , but it 's disconcerting . She 's not sure it 's a harmless one .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>May I come in?</dialogue>
    <character>SALANDER</character>
    <dialogue>Actually I'm not really up.</dialogue>
    <parenthetical>( yet . )</parenthetical>
    <dialogue>-</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>That's okay.</dialogue>
    <scene_description>He pushes the door enough to pass . Has a paper bag and satchel with him . Takes in the place , including the girl in the bedroom , in a glance as he heads for the kitchen .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>I assumed you would n't have had breakfast yet so I brought some bagel sandwiches. And tomato juice. Good for hangovers. Where do you keep the coffee?</dialogue>
    <character>SALANDER</character>
    <dialogue>Hey. Hey -.</dialogue>
    <parenthetical>( he stops ; looks back . )</parenthetical>
    <dialogue>Who do you think you are?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I'm the guy you know better than my closest friends do.</dialogue>
    <scene_description>He opens cabinets looking for the coffee . She stares .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>We have a lot to talk about, so why do n't you take a shower, put on some clothes and get rid of your girlfriend.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. SALANDER'S APARTMENT - LATER</stage_direction>
    <scene_description>Blomkvist , plunging a French press , watches as the girlfriend lets herself out . In the bedroom , Salander finishes getting dressed , sticks her Taser in the back pocket of her jeans and comes out to find a table setting that 's more formal than she , or anyone who lives alone , is used to .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>You're awake. Good. Breakfast is ready.</dialogue>
    <scene_description>He pours her , and then himself , coffee .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>I guess I alarmed you showing up like this.</dialogue>
    <character>SALANDER</character>
    <dialogue>If you touch me, I'll more than alarm you.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>That wo n't be necessary.</dialogue>
    <scene_description>He smiles . His eyes are not unkind . As he helps himself to one of the bagels -</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Your report on me was quite detailed but for me not very entertaining.</dialogue>
    <scene_description>A copy of it sits next to his plate .</scene_description>
    <character>SALANDER</character>
    <dialogue>It was n't meant to be.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>When I write about people, I try to entertain the reader.</dialogue>
    <character>SALANDER</character>
    <dialogue>Wennerstrom was n't entertained.</dialogue>
    <scene_description>Blomkvist lets it go .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Your boss Armansky tells me you only work on things that interest you. I guess I should be flattered. He also says you're the one he goes to for jobs that are, ` sensitive' is the word he used. I'll use ` illegal,' since that what it was when you hacked into my computer.</dialogue>
    <parenthetical>( they study each other . )</parenthetical>
    <dialogue>I'm not going to do anything about that. I could but I wo n't. What I'm going to do is tell you a story. If it entertains you, maybe you'll decide to help me research it further. If it does n't, I'll wash the dishes and leave. Are you going to even touch your food?</dialogue>
    <character>SALANDER</character>
    <dialogue>What kind of research?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Lisbeth - may I call you Lisbeth? I want you to help me catch a killer of women.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. SALANDER'S APARTMENT - LATER - DAY</stage_direction>
    <scene_description>He 's arranged some of his research on the floor , and watches Salander kneeling before it , her eyes passing over photographs of the Vanger clan , the accident on the bridge , Xeroxes of the Leviticus list and verses .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>I've identified R.J.. Her name's Rebecka Jacobsson. I have no idea who the others are - or how they're connected to the death of a 16 year old girl - but they have to be.</dialogue>
    <scene_description>His eyes settle on her blue - black `` handcuffs '' as hers settle on a copy of an old Hedestad Courier front page : the article about the grisly murder of Rebecka Jacobsson .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>We need to somehow figure out who they are, what happened to them, what the Leviticus verses have to do with.</dialogue>
    <parenthetical>( anything . )</parenthetical>
    <dialogue>-</dialogue>
    <scene_description>She gets up , goes to her desk , begins jotting something down , ignoring him .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>What are you doing?</dialogue>
    <character>SALANDER</character>
    <dialogue>Getting started. You can keep talking if you want.</dialogue>
    <scene_description>Blomkvist , slightly taken aback , picks up the Leviticus Xerox from the floor .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Would you like this?</dialogue>
    <character>SALANDER</character>
    <dialogue>Got it.</dialogue>
    <scene_description>That 's what she 's jotting down , from memory : the names , initials and Leviticus numbers . She wakes her laptop -</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. THE BRIDGE - NIGHT</stage_direction>
    <scene_description>Hussein 's taxi brings Blomkvist across to the island .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT/INT. COTTAGE - NIGHT</stage_direction>
    <scene_description>He gets out with his satchel . Whistles for the cat -</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>I'm home.</dialogue>
    <scene_description>He picks up the bowl of food he left on the porch , unlocks the door , goes inside , and sees the cat napping on his desk . He stares at it . Then at the door he just came through . Then the windows : all shut . Nothing has been disturbed as far as he can tell , but someone has been in here .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SALANDER'S APARTMENT - DAY</stage_direction>
    <scene_description>A window on Salander 's laptop shows a map of Sweden divided into its 21 counties : Stockholm , Vasterbotten , Uppsala , etc. . She starts with Skane . Hacks * however one does that * into its police department 's crime database -LRB- or various county newspapers ' databases -RRB- . She fills in the year field with - 1947 - 1966 - and continues to types quickly . When we see what that is , she 's in the middle of typing this filters list - Homicide . Female . Rape . Decapitation . Dismemberment . Fire . Altar . Priest . Prostitute . Unsolved . Mari . Magda . Sara . R.L. . The search produces a screen showing matches to some of the filter words - the rest of the case synopses greyed out . But also , with all of them , there 's this message : Full Police Report Not Digitized .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT/EXT. COTTAGE - DAY - (PLACEMENT CHANGE ONLY)</stage_direction>
    <scene_description>Blomkvist watches a Hedestad locksmith install a dead - bolt on his front door .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STOCKHOLM - NIGHT</stage_direction>
    <scene_description>Salander comes out of her apartment building onto an empty street . Everyone is asleep . No lights on . It must be about 3am . She ties a duffel bag down , climbs onto the motorcycle , kick - starts it , races off into the night .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. VARMLAND - SWEDEN - DAWN</stage_direction>
    <scene_description>Salander 's Honda races past a pastoral agricultural landscape .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. POLICE STATION - ESTABLISHING - MORNING</stage_direction>
  </scene>
  <scene>
    <stage_direction>INT. POLICE STATION - KARLSTAD - MORNING</stage_direction>
    <scene_description>An old police detective considers Salander 's driver 's license , her Milton Security ID , and a letter signed by the giant security firm 's CEO , Dragan Armansky .</scene_description>
    <character>DET. ISAKSSON</character>
    <dialogue>No one's asked me about Magda in over 40 years. No one here even remembers her.</dialogue>
    <scene_description>He waits for her to say something , but she does n't seem to understand conversational dynamics , so it 's up to him .</scene_description>
    <character>DET. ISAKSSON</character>
    <dialogue>Why would a young lady like you want to know about such a brutal killing.</dialogue>
    <character>SALANDER</character>
    <dialogue>It interests me.</dialogue>
    <character>DET. ISAKSSON</character>
    <dialogue>Does it.</dialogue>
    <scene_description>She nods . He 's not sure which he finds stranger - her appearance or her sincerity . He touches his own neck to indicate the tattoo on hers .</scene_description>
    <character>DET. ISAKSSON</character>
    <dialogue>What's that. A wasp?</dialogue>
    <character>SALANDER</character>
    <dialogue>A friend of mine calls me that.</dialogue>
    <character>DET. ISAKSSON</character>
    <dialogue>So you tattoo it on your neck?</dialogue>
    <scene_description>He 'd be horrified if one of his grandchildren did that , but she just shrugs like it 's no big deal .</scene_description>
    <character>DET. ISAKSSON</character>
    <dialogue>Who's this friend?</dialogue>
    <character>SALANDER</character>
    <dialogue>My trainer.</dialogue>
    <character>DET. ISAKSSON</character>
    <dialogue>Aerobics?</dialogue>
    <character>SALANDER</character>
    <dialogue>Boxing.</dialogue>
    <scene_description>Hard for him to picture . But , upon reflection -</scene_description>
    <character>DET. ISAKSSON</character>
    <dialogue>I have a feeling you're pretty good at that, even though you weigh - what - ninety pounds?</dialogue>
    <parenthetical>( nothing from her . )</parenthetical>
    <dialogue>Float like a butterfly.</dialogue>
    <character>SALANDER</character>
    <dialogue>What?</dialogue>
    <character>DET. ISAKSSON</character>
    <parenthetical>( smiles . )</parenthetical>
    <dialogue>Come with me, Muhammad.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. KARLSTAD POLICE FILE ROOM - DAY</stage_direction>
    <scene_description>The old man rummages through an old file cabinet .</scene_description>
    <character>DET. ISAKSSON</character>
    <dialogue>Her husband was our first suspect - the husband is always the first suspect, and usually the last - but not this time. We moved on to a neighbor. Then a vagrant -</dialogue>
    <scene_description>He pulls a thick , yellowed folder out and sits with it and her at a table .</scene_description>
    <character>DET. ISAKSSON</character>
    <dialogue>Once you get to strangers, it's only a matter of time before you get to gypsies, and you know you're never going to solve it.</dialogue>
    <scene_description>And that troubles him still , that he never solved it .</scene_description>
    <character>SALANDER</character>
    <dialogue>How exactly was she killed?</dialogue>
    <character>DET. ISAKSSON</character>
    <dialogue>Miss - I'm sorry -</dialogue>
    <character>SALANDER</character>
    <dialogue>Salander.</dialogue>
    <character>DET. ISAKSSON</character>
    <dialogue>Miss Salander, if you do n't mind my asking, when's the last time you ate?</dialogue>
    <character>SALANDER</character>
    <dialogue>I have a high metabolism. I ca n't put on weight.</dialogue>
    <character>DET. ISAKSSON</character>
    <dialogue>That's not why I ask. I ask because it's better to look at what I'm about to show you on an empty stomach.</dialogue>
    <scene_description>He pushes the folder across the table to her .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HEDESTAD HOSPITAL - DAY</stage_direction>
    <scene_description>Blomkvist comes in to find - like Morell did 40 years ago - a strange tableaux of suspects - two of whom he 's only yet seen in photographs on his cottage wall - Birger , Cecilia , Frode , Martin , Gunnar , Anna , and , looking like an aging overdressed vampire , Isabella , smoking a cigarette .</scene_description>
    <character>BLOMKVIST</character>
    <parenthetical>( to Frode . )</parenthetical>
    <dialogue>How is he?</dialogue>
    <scene_description>Frode takes Blomkvist aside .</scene_description>
    <character>FRODE</character>
    <dialogue>He needs surgery and there's no DNR. So it's up to the family to decide to resuscitate or not, and they're not good at decisions.</dialogue>
    <scene_description>He glances over to them . Isabella 's staring back .</scene_description>
    <character>FRODE</character>
    <dialogue>How'd it go with Ms. Salander?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>She said yes.</dialogue>
    <scene_description>Isabella gets up to come over -</scene_description>
    <character>BLOMVIST</character>
    <parenthetical>( to Frode . )</parenthetical>
    <dialogue>Can I see Henrik?</dialogue>
    <character>FRODE</character>
    <dialogue>He was asleep when I last looked in. We can check.</dialogue>
    <character>ISABELLA</character>
    <dialogue>No, you ca n't check. You can instruct him to pack his things and leave.</dialogue>
    <character>MARTIN</character>
    <dialogue>Mother -</dialogue>
    <character>ISABELLA</character>
    <dialogue>Do n't use that tone with me.</dialogue>
    <parenthetical>( to Blomkvist . )</parenthetical>
    <dialogue>This family's had enough tragedy without you dredging it all up again.</dialogue>
    <character>FRODE</character>
    <dialogue>Actually, Isabella, Mr. Blomkvist works for Henrik.</dialogue>
    <character>ISABELLA</character>
    <dialogue>And who do you work for, Dirch? Remind me who pays your salary?</dialogue>
    <character>BIRGER</character>
    <dialogue>We should put this to a vote.</dialogue>
    <character>MARTIN</character>
    <dialogue>Do n't be an idiot, Birger.</dialogue>
    <character>BIRGER</character>
    <dialogue>It's a family decision like any other. Cecilia?</dialogue>
    <character>CECILIA</character>
    <dialogue>What.</dialogue>
    <character>BIRGER</character>
    <dialogue>Am I right?</dialogue>
    <character>CECILIA</character>
    <dialogue>You are so seldom right about anything, it's hard for me to say yes. But.</dialogue>
    <parenthetical>( yes . )</parenthetical>
    <dialogue>-</dialogue>
    <character>MARTIN</character>
    <dialogue>No. We should do what Henrik wants, and we know what he wants.</dialogue>
    <character>ISABELLA</character>
    <dialogue>Henrik - is in there fighting for his life. This -.</dialogue>
    <parenthetical>( points to Blomkvist like he 's an object . )</parenthetical>
    <dialogue>- is the last thing he needs.</dialogue>
    <scene_description>A nurse chooses this - the absolute worst time - to approach Isabella .</scene_description>
    <character>NURSE</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>Excuse me, Mrs. Vanger, you ca n't smoke in here.</dialogue>
    <scene_description>Isabella gives the nurse a look so hard it 's almost frightening - calmly flicks an ash on the floor - waits for the nurse to leave - and looks back at Blomkvist .</scene_description>
    <character>ISABELLA</character>
    <dialogue>Go back to Stockholm. When we want a false chronicle of the family written by a libelist, we know who to call.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. HOSPITAL ROOM - DAY</stage_direction>
    <scene_description>As Frode guessed , Henrik is asleep , wired up to monitors , and does n't stir as Blomkvist looks in on him .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. YOUTH HOSTEL - NIGHT</stage_direction>
    <scene_description>Salander 's motorcycle parked outside .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. YOUTH HOSTEL - NIGHT</stage_direction>
    <scene_description>As young travelers with huge backpacks try to sleep around her , Salander reads to herself from a Bible by flashlight . Leviticus 4:32 -</scene_description>
    <character>HARRIET/PERNILLA</character>
    <dialogue>If a man's offering is a lamb, it shall be a female without blemish. He shall lay his hand upon it's head. slaughter it. empty it's blood on the base of the altar. and he shall be forgiven.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. UDDEVALLA- DAY</stage_direction>
    <scene_description>Another police station .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. KARLSTAD POLICE STATION - DAY</stage_direction>
    <scene_description>Det. Isaksson is on the phone -</scene_description>
    <character>DET. ISAKSSON</character>
    <dialogue>Forget what she looks like, I vouch for her -</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. POLICE STATION - UDDEVALLA - DAY</stage_direction>
    <scene_description>Another old police detective has Salander 's credentials and a phone in hand -</scene_description>
    <character>DET. ISAKSSON</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>She's smart. And she's serious about this.</dialogue>
    <scene_description>The old Uddevalla detective regards Salander waiting at the counter . Into the phone -</scene_description>
    <character>UDDEVALLY DETECTIVE</character>
    <parenthetical>( convinced but just barely . )</parenthetical>
    <dialogue>All right. Thanks.</dialogue>
    <scene_description>He hangs up . To Salander -</scene_description>
    <character>UDDEVALLA DETECTIVE</character>
    <dialogue>This way, Miss..</dialogue>
    <scene_description>He escorts her to the file room .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. FILE ROOM - POLICE STATION - UDDEVALLA - DAY</stage_direction>
    <scene_description>Just like Isaksson , the Uddevalla detective pulls open an old cabinet drawer , finds a particular ancient folder in it and hands it to Salander . She begins flipping through the reports and crime photos inside it , but we do n't see them .</scene_description>
    <character>SALANDER</character>
    <dialogue>Can I make copies?</dialogue>
    <character>UDDEVALLA DETECTIVE</character>
    <dialogue>I can make them for you if our machine's been repaired.</dialogue>
    <character>SALANDER</character>
    <dialogue>That's okay.</dialogue>
    <scene_description>She begins photographing the reports and crime scene pictures with her camera as the detective watches her , not without some kind of strange sense of admiration .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE - EVENING</stage_direction>
    <scene_description>Blomkvist considers Birger 's photo on his wall : Brother of Cecilia , son of Harald the Nazi , 21 - years - old when his cousin Harriet disappeared .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. COTTAGE - EVENING</stage_direction>
    <scene_description>Blomkvist and Martin drink Skane . Martin 's normally breezy demeanor seems to have suffered from his mother 's public displays . Embarrassed by them and her , he 's more serious now .</scene_description>
    <character>MARTIN</character>
    <dialogue>My family is impossible. It's why the company is such a mess. Please accept my apology for my mother's behavior.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>It's all right.</dialogue>
    <character>MARTIN</character>
    <dialogue>It's not all right, she's unbearable. But it has nothing to do with you. It's between her and Henrik. She lost it when my father died. The drinking - her state of mind - it all got so bad Henrik took me and my sister away from her, leaving her alone in our old house on the other side of the island like she was excommunicated. She's never forgiven him.</dialogue>
    <scene_description>And he seems as lost now as he must have been then .</scene_description>
    <character>MARTIN</character>
    <dialogue>You have to stay and keep working. You're Henrik's last chance at some kind of resolution. Put this to rest for him one way of the other, and I'll try to keep my mother away. But, please, do it as quickly as you can.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I'll.</dialogue>
    <parenthetical>( try . )</parenthetical>
    <dialogue>-</dialogue>
    <scene_description>They glance off to the sound of a motorcycle . It appears , roars up , parks . Salander climbs off it and shoulders a duffel bag . Blomkvist seems surprised to see her .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Lisbeth, this is Martin Vanger.</dialogue>
    <character>MARTIN</character>
    <dialogue>How do you do.</dialogue>
    <character>SALANDER</character>
    <dialogue>Fine.</dialogue>
    <scene_description>She comes past them without another word . Martin ca n't help noticing her wasp and handcuff tattoos . Looks after her as she disappears into the cottage . It 's hard to believe , but he has to ask :</scene_description>
    <character>MARTIN</character>
    <dialogue>Girlfriend?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Assistant.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE - MOMENTS LATER</stage_direction>
    <scene_description>Blomkvist comes in as Martin drives off . Salander is already unpacking her things - laptop , charger , change of clothes . What 's she doing , moving in ?</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Any trouble finding the place?</dialogue>
    <character>SALANDER</character>
    <dialogue>Everyone in town knows who and where you are.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>That's comforting. Are you hungry? Want a sandwich?</dialogue>
    <character>SALANDER</character>
    <dialogue>No.</dialogue>
    <scene_description>Busy setting up her laptop on his desk , starting it up , sitting down at it , she 's all but ignoring him .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>I used to have a motorcycle. When I was 19.</dialogue>
    <character>SALANDER</character>
    <dialogue>I know.</dialogue>
    <scene_description>She hands him her own dog - eared Bible and a copy of the list of names and initials he gave her -</scene_description>
    <character>SALANDER</character>
    <dialogue>The five cases from Harriet's list. And five more she missed - three I'm sure about.</dialogue>
    <scene_description>Five more ? Blomkvist stares at her but she 's turned back to her laptop , bringing up police reports and crime scene photos .</scene_description>
    <character>SALANDER</character>
    <dialogue>Rebecka was the first, like you thought. M.H., is Mari Holmberg - a prostitute in Kalmar - murdered in 1954. Leviticus verse 20, line 18.</dialogue>
    <character>BLOMKVIST</character>
    <parenthetical>( reading from it . )</parenthetical>
    <dialogue>`` If a man lies with a woman having her sickness, he has made naked her fountain and she has uncovered the fountain of her blood.''</dialogue>
    <scene_description>Blomkvist does n't see a connection .</scene_description>
    <character>SALANDER</character>
    <dialogue>She was raped and stabbed, but the cause of death was suffocation with a sanitary napkin. R.L. Rakel Lunde, 1957 -</dialogue>
    <scene_description>Salander brings up more crime photos -</scene_description>
    <character>SALANDER</character>
    <dialogue>Cleaning woman and part - time palm reader, tied up with a clothesline, gagged, raped, head crushed with a rock. Leviticus 20:27.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>`` A woman who is a medium or sorcerer shall be put to death by stoning.''</dialogue>
    <scene_description>She 's lit a cigarette and brings up the next photos -</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>I only smoke outside.</dialogue>
    <character>SALANDER</character>
    <parenthetical>( ignoring the comment . )</parenthetical>
    <dialogue>Sara Witt, 1964. Daughter of a pastor. Tied to her bed, raped, charred in the fire that burned down her house. Leviticus -</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>21:9. `` The daughter of any priest who profanes herself by playing the harlot, profanes her father and shall be burned with.</dialogue>
    <parenthetical>( fire . )</parenthetical>
    <dialogue>-</dialogue>
    <character>SALANDER</character>
    <parenthetical>( on top of his last word . )</parenthetical>
    <dialogue>Magda Lovisa Sjoberg, 1960 -</dialogue>
    <scene_description>Several photos of a dead woman and dead cow -</scene_description>
    <character>SALANDER</character>
    <dialogue>Found in a barn, stabbed and raped with farm tools. A cow in the next stall with its throat slit, its blood splashed on her, hers on it.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Leviticus 20:16 - `` If a woman lies with any beast, you shall kill the woman and the beast, their blood is upon.</dialogue>
    <parenthetical>( them . )</parenthetical>
    <dialogue>-</dialogue>
    <character>SALANDER</character>
    <parenthetical>( again on his last word . )</parenthetical>
    <dialogue>Lea Persson, 1962 -</dialogue>
    <scene_description>A photo of a pretty girl in riding jodhpurs , petting a horse , and several more of her dead naked body on a wet cement floor surrounded by tropical fish .</scene_description>
    <character>SALANDER</character>
    <dialogue>Found by her sister in their pet shop - raped, beaten. The killer uncaged the animals, smashed the aquariums. There was a parakeet inside her. Leviticus 26:21 / 22.</dialogue>
    <scene_description>Before Blomkvist can find the verse , she 's on to the next ones . More photos of murdered girls -</scene_description>
    <character>SALANDER</character>
    <dialogue>Eva Gustavsson, 1960. A runaway. Raped, strangled, a burnt pigeon tied around her neck. Lena Andersson, 1967, a student. Raped, stabbed, decapitated -</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Okay -</dialogue>
    <character>SALANDER</character>
    <dialogue>I'm not done -</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>It's all right, we're looking for a serial murderer. But what does it have to do with a 16 - year - old girl on an island?</dialogue>
    <scene_description>Salander , as we know , is not paid to give her opinion . She 's a hunter/gatherer , not an analyst . But Blomkvist asked , so she gives it -</scene_description>
    <character>SALANDER</character>
    <dialogue>She was looking for him, too.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. COTTAGE - LATER - NIGHT</stage_direction>
    <scene_description>The silence they just left has followed them out here . The island , more than ever , feels haunted as Blomkvist looks off , smoking .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Rape. Torture. Fire. Animals. Religion. Anything I'm missing?</dialogue>
    <character>SALANDER</character>
    <dialogue>The names. They're all Biblical. The first woman, the whore, the Virgin Mary - Sara, Rakel - all from the Old Testament.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Which means they're Jewish names.</dialogue>
    <scene_description>He glances off to Harald 's dark house .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>If there's one thing the Vangers have more than their share of, it's Nazis. There's one of them.</dialogue>
    <scene_description>The Nazi 's shadowy form crosses behind the shades .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE - LATER - NIGHT</stage_direction>
    <scene_description>He pokes at embers in the fireplace to try coax some flames .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>I can see why Armansky values you so highly. Your work is very good.</dialogue>
    <character>SALANDER</character>
    <dialogue>It interests me.</dialogue>
    <scene_description>He takes a blanket from the back of a chair .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>I'll take the couch. You can have the bed.</dialogue>
    <character>SALANDER</character>
    <dialogue>I can sleep on a couch.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>So can I.</dialogue>
    <scene_description>She takes the blanket from him and sits with it on the couch . He watches her a moment .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Okay.</dialogue>
    <parenthetical>( heads off to the bedroom . )</parenthetical>
    <dialogue>Good night.</dialogue>
    <character>SALANDER</character>
    <dialogue>Night.</dialogue>
    <scene_description>She switches off the lamp . Then , in a moment , in the dark -</scene_description>
    <character>SALANDER</character>
    <dialogue>Harriet's name is n't.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Is n't what.</dialogue>
    <character>SALANDER</character>
    <dialogue>Jewish.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. COTTAGE - MORNING - ESTABLISHING</stage_direction>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE - MORNING</stage_direction>
    <scene_description>Salander browses through an iPhoto album of old photographs of Blomkvist and the motorcycle he mentioned . In some of them , Erika is with him . In all of them , he 's wearing a leather jacket not unlike Salander 's .</scene_description>
    <character>BLOMKVIST</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>What are you doing?</dialogue>
    <scene_description>He 's just woken up in a tangle of blankets on the couch to see her at his laptop . She closes the album , leaving on the screen what she was looking at before : his iMovie of the parade and some annotated police files .</scene_description>
    <character>SALANDER</character>
    <dialogue>Going over your notes.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>They're encrypted.</dialogue>
    <scene_description>She gives him a do n't - be - a - child look .</scene_description>
    <character>SALANDER</character>
    <dialogue>Have some coffee.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I will. And then we'll have a talk about what's yours and what's mine.</dialogue>
    <scene_description>Blomkvist drags himself up , pours himself some coffee , adds some milk .</scene_description>
    <character>SALANDER</character>
    <dialogue>It's amazing what you figured out from the parade photos.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Thank you.</dialogue>
    <character>SALANDER</character>
    <dialogue>Too bad you do n't have hers.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Whose.</dialogue>
    <scene_description>She does n't say . He comes over . She plays the iMovie , stops on a frame before Harriet turns her head . Points to a young couple standing among the people behind her . The woman has an Instamatic camera in her hand .</scene_description>
    <character>SALANDER</character>
    <dialogue>Her.</dialogue>
    <scene_description>She advances to the next frame : The woman has raised the camera to her eye . And the next : Harriet turning her head in foreground while in the background the flash cube atop the woman 's Instamatic flares slightly . Blomkvist is stunned , by both the fact he did n't notice it before , and what it means : Though the woman is taking a snapshot of the parade , she could have inadvertently included in it whatever - whoever - Harriet saw at that moment across the street .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Excuse me.</dialogue>
    <scene_description>He takes over his laptop from her , finds the later Courier photos he did n't include in his iMovie , after Harriet has left . In one , the couple is moving off the other way . In another , they 're getting in a parked car to leave . He sharpens the Photoshop contrast . The rear license plate is partly visible , but too small for him to make out even by squinting .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Can you read that?</dialogue>
    <character>SALANDER</character>
    <dialogue>A, C, Three - the rest is blocked.</dialogue>
    <scene_description>He focuses on a decal on the car 's back window . The letters are even small and blurrier , but she thinks she can make out -</scene_description>
    <character>SALANDER</character>
    <dialogue>N, something, R, S, J -</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Norsjo.</dialogue>
    <character>SALANDER</character>
    <dialogue>Then something, K, something, R, I, F, something, I -</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Carpentry.</dialogue>
    <parenthetical>( points below the letters . )</parenthetical>
    <dialogue>Is that a phone number?</dialogue>
    <character>SALANDER</character>
    <dialogue>Too small to read.</dialogue>
    <scene_description>He gets up . Heads for the front door to smoke his cigarette outside -</scene_description>
    <character>BLOMKVIST</character>
    <parenthetical>( ADR . )</parenthetical>
    <dialogue>I'm going to have to go to Norsjo.</dialogue>
    <scene_description>He opens the door to leave and sees on the porch - The charred corpse of the cat . Its legs - sawn off and arranged in the shape of a swastika - lie in the middle of a dark circle of blood . He seems too startled to move , but when Salander sees it , she immediately gets her camera and begins framing close - ups of the cat parts , and its head resting atop the seat of her motorcycle . Blomkvist stares off at Harald 's house .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HEDESTAD HOSPITAL CAFETERIA - DAY</stage_direction>
    <scene_description>As Frode scrolls through the photos of the dismembered cat on Salander 's camera , horrified by them , she regards at a table across the room : Birger , Isabella and Gunner .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>I would n't think Harald would sign his name like this, would you?</dialogue>
    <character>FRODE</character>
    <dialogue>I ca n't say I know how he thinks. He might.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Has anyone spoken to him about me since I've been here?</dialogue>
    <character>FRODE</character>
    <dialogue>Maybe Isabella. No one else.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Could she do something like this?</dialogue>
    <scene_description>Frode glances off to her . She 's staring at Salander . And turns to Birger .</scene_description>
    <character>ISABELLA</character>
    <dialogue>Who's this creature now?</dialogue>
    <scene_description>Frode takes one more look at the photos before -</scene_description>
    <character>FRODE</character>
    <dialogue>I'm calling this off.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>No. You're authorizing me to rent a car.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. HOSPITAL - LATER - DAY</stage_direction>
    <scene_description>Blomkvist and Salander coming down a corridor on their way out .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>I'm sorry if that was uncomfortable.</dialogue>
    <character>SALANDER</character>
    <dialogue>They do n't bother me.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I'm sure they're not used to people who look like you.</dialogue>
    <character>SALANDER</character>
    <dialogue>They do n't like you either.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. HIGHWAY - DAY</stage_direction>
    <scene_description>A car and a motorcycle split apart at an interchange - the Volvo to the north , Salander 's Honda to the south .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STOCKHOLM - DAY</stage_direction>
    <scene_description>Salander pulls her Honda into an underground garage .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MILTON SECURITY - DAY</stage_direction>
    <scene_description>No one says hello to her - nor she to them - as she strides through the place to the tech room . INSERT : Cases snapped open revealing sophisticated surveillance equipment - several cameras , mounts , hand monitor , cables .</scene_description>
    <character>TECH CLERK</character>
    <dialogue>I ca n't give you any of this stuff without authorization from Mr. Armansky.</dialogue>
    <character>SALANDER</character>
    <dialogue>So call him.</dialogue>
    <scene_description>The clerk picks up a phone , but then sets it back down . Picks up the list again .</scene_description>
    <character>TECH CLERK</character>
    <dialogue>Next time, I'd prefer you fill out the proper paperwork.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. HIGHWAY - DAY</stage_direction>
    <scene_description>A Volvo speeds along a rural highway , far from Hedestad and the Vangers .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. VOLVO - MOVING - DAY</stage_direction>
    <scene_description>On the passenger seat - INSERT : the car rental agreement - a print of the parade photo of the couple getting into the car he was looking at with Salander on his laptop - and a hand - written note that reads - NORSJO SNICKERIFABRIK</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT/INT. HIGHWAY / VOLVO - DAY</stage_direction>
    <scene_description>A POV through the windshield of a highway sign alerts him the Norsjo exit is coming up .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. NORSJO - DAY</stage_direction>
    <scene_description>The main street of a very small town . The Volvo pulls to a stop outside its only hardware store .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HARDWARE STORE - DAY</stage_direction>
    <scene_description>An ancient place with narrow aisles crammed with stuff .</scene_description>
    <character>CLERK 1</character>
    <dialogue>Can I help you?</dialogue>
    <scene_description>The clerk - for what Blomkvist needs - is too young .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>I'm waiting for the older gentleman, thanks.</dialogue>
    <scene_description>He gestures to a clerk in his 60 's helping a customer .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HARDWARE STORE - LATER</stage_direction>
    <scene_description>The older clerk looks at the parade photo of the couple .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>The carpentry shop is gone. I do n't know if he worked there or not. If he did, maybe he used to buy hardware here.</dialogue>
    <character>CLERK 2</character>
    <dialogue>I do n't recognize him. Sorry.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I had to start somewhere. Thanks.</dialogue>
    <scene_description>As he gathers up the photos to leave -</scene_description>
    <character>CLERK 2</character>
    <dialogue>I'm no detective, but I think I would've started at the retirement home.</dialogue>
    <scene_description>Blomkvist looks up . Not a bad idea .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SALANDER'S APARTMENT - STOCKHOLM - DAY</stage_direction>
    <scene_description>Salander checks a ` mirror ' of Bjurman 's computer on her laptop . Skims one of the monthly reports she instructed him to write .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. RETIREMENT HOME - NORSJO - ESTABLISHING</stage_direction>
  </scene>
  <scene>
    <stage_direction>INT. RETIREMENT HOME - NORSJO - DAY</stage_direction>
    <scene_description>A group of elderly men and women in a rec room pass Blomkvist 's photos around . One old man offers -</scene_description>
    <character>FORSMAN</character>
    <dialogue>This is Brannlund's kid. He was a contractor, the father.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Brannlund.</dialogue>
    <character>FORSMAN</character>
    <dialogue>Assar.</dialogue>
    <scene_description>Blomkvist writes the name down .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>You would n't happen to know where I could find him, the son?</dialogue>
    <character>FORSMAN</character>
    <dialogue>Next to his father at the cemetery. He was killed in an accident on a job site years ago. But she might be alive -.</dialogue>
    <parenthetical>( the woman in the picture . )</parenthetical>
    <dialogue>His widow.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. BRANNLUND HOUSE - ESTABLISHING</stage_direction>
  </scene>
  <scene>
    <stage_direction>INT. BRANNLUND HOUSE - DAY</stage_direction>
    <scene_description>She is still alive , and sitting across from Blomkvist in her living room as he takes out his photos -</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>In 1966, you were in Hedestad with your husband.</dialogue>
    <scene_description>He shows her one of the photos .</scene_description>
    <character>MILDRED</character>
    <dialogue>Oh, my goodness, there we are. Who took this?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Photographer at the local paper.</dialogue>
    <scene_description>She smiles at the picture ; it brings back good memories .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>You were taking pictures, too. Which I'd very much like to see if by some miracle you still have them.</dialogue>
    <character>MILDRED</character>
    <dialogue>It would n't be a miracle. We were on our honeymoon. But why?</dialogue>
    <scene_description>Blomkvist thinks about making something up . Decides not to . Indicates Harriet in the photo -</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>This girl was killed that day, soon after seeing something across the street that frightened her.</dialogue>
    <character>MILDRED</character>
    <dialogue>How awful.</dialogue>
    <scene_description>Blomkvist nods ; Mildred takes a closer look at the photo .</scene_description>
    <character>MILDRED</character>
    <dialogue>She does look terrified.</dialogue>
    <scene_description>Mildred gets up with purpose , goes into another room , returns with a photo album . Leafs past wedding photos , to honeymoon photos and stops on the only one she took of the parade . She hands the album to Blomkvist . The snapshot shows the float with the harem girls in foreground , and - in the background , across the street - several out of focus figures -</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Would you mind if I made a copy of this?</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. BJURMAN'S OFFICE BUILDING - LATE AFTERNOON</stage_direction>
    <scene_description>Establish .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BJURMAN'S OFFICE BUILDING - LATE AFTERNOON</stage_direction>
    <scene_description>He gets in the elevator without really looking at the figure already in it .</scene_description>
    <character>BJURMAN</character>
    <dialogue>Ground, please.</dialogue>
    <scene_description>A finger presses it . The doors close and the elevator starts down .</scene_description>
    <character>SALANDER</character>
    <dialogue>How's your sex life?</dialogue>
    <scene_description>Bjurman , terrified , backs into a corner . She presses a button and the elevator jerks to a stop between floors .</scene_description>
    <character>SALANDER</character>
    <dialogue>I did n't care much for your last report.</dialogue>
    <parenthetical>( which she has in hand . )</parenthetical>
    <dialogue>It felt perfunctory, like your heart was n't in it. Let's see a little more enthusiasm for my recovery in next month's.</dialogue>
    <character>BJURMAN</character>
    <dialogue>I under -LRB- stand. -RRB- -</dialogue>
    <character>SALANDER</character>
    <dialogue>Do n't speak. I do n't want to hear your voice. Just nod.</dialogue>
    <scene_description>He nods .</scene_description>
    <character>SALANDER</character>
    <dialogue>Start looking for a shrink you can bribe to swear under oath he can find absolutely nothing wrong with me.</dialogue>
    <scene_description>He nods . She gets the elevator going again and steps closer to him . He tries bowing his head like a dog being scolded . She lifts his chin like he did to her before he raped her .</scene_description>
    <character>SALANDER</character>
    <dialogue>And stop visiting tattoo removal websites or I'll do it again - right here.</dialogue>
    <scene_description>She touches his forehead . He backs away . The doors open and she steps out , leaving him in there , looking too frightened to move . The doors close .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE - LATE AFTERNOON</stage_direction>
    <scene_description>Having returned and scanned Mildred 's snapshot into Photoshop , Blomkvist better defines on his laptop its background and the people in frame across the street from where Harriet was standing : INSERT : Couples , kids , a clown . INSERT : The watch repair shop clock that reads , 2:00 . INSERT : A figure standing slightly apart from the other people . It 's too blurry to make out his face or age , but he has light brown hair , dark slacks , and a dark blazer with some kind of patch on the pocket .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STOCKHOLM - LATE AFTERNOON</stage_direction>
    <scene_description>Salander blasts onto the highway headed north .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT COTTAGE - AFTERNOON</stage_direction>
    <scene_description>Blomkvist regards Isabella 's two photos on the wall . In one she 's a stunning young woman . In the other , the old wreck she 's become . He glances to her husband Gottfried 's photo . Where a second more current photo of him should go is a Courier article about his drowning in 1965 . That 's when Isabella changed - and this is where it happened - in this old house out on the point . He untacks the article -</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HEDEBY ISLAND - LATE AFTERNOON</stage_direction>
    <scene_description>The boathouse has n't fared well . Neither has the dock Blomkvist has to walk on to reach it . He glances inside - no boat , just dark water slapping against the pilings - looks back to the shore at the long - uninhabited cabin .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CABIN - LATER - LATE AFTERNOON</stage_direction>
    <scene_description>No electricity but enough light spills through the open door for him to see the neglected , shadowy interior : Beds with bare , or no , mattresses . Sticks of furniture . Old water - stained books strewn around . Beer bottles and other debris left by intrepid Hedestad teenagers . It 's creepy , even if you were n't alone in it , knowing what you know . He kneels to look at some of the books . Mickey Spillane , a bird guidebook , something called The Evil Empire about the USSR , a children 's book . He opens this last one and sees `` Harriet '' scrawled in a very young child 's hand .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HEDEBY ISLAND - LATE AFTERNOON</stage_direction>
    <scene_description>Having climbed the cliff above the cabin , he finds himself at the highest point on the island . Stops to rest at the ruins of a fort . A piece of the stone wall next to his head suddenly erupts . As fragments tear into his scalp , he hears the delayed crack and echo of the rifle shot - He throws himself to the ground . Crawls desperately around and behind the ruins . Sees his shirt is bloody but ca n't feel a wound under it . Touches his face and finds the blood is coming from his forehead . He can see no one , and is almost relieved since if he could it would mean they were walking toward him , which would mean he would soon be shot dead , point blank . He has to get out of here before that happens . Behind him - the rocky cliff he just climbed . Ahead of him - a clearing leading to woods . Really only one choice - He runs for the trees . Dives through a curtain of thicket and stinging nettles that tear at his arms and hands . Crawls the rest of the way to the woods on his elbows and toes like an infantryman . Safe for the moment , he figures , hidden in the woods , he looks at the sun low in the sky , and decides to wait .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT/EXT. COTTAGE - EVENING</stage_direction>
    <scene_description>Salander , returned from Stockholm , moves around the cottage - inside and out - installing the equipment she brought from Milton Security : Motion detectors - security cameras - software that bisects a PC screen into quadrants showing night - vision views of each corner of the cottage .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT/EXT. COTTAGE - NIGHT</stage_direction>
    <scene_description>A figure appears on a quadrant of Salander 's surveillance PC . Comes past the motorcycle and nearly reaches the porch before she hears -</scene_description>
    <character>BLOMKVIST</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>It's me.</dialogue>
    <scene_description>She opens the door to see him covered in blood , pressing a torn piece of his shirt to his bleeding head - and almost gasps .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>It's that bad?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE - NIGHT</stage_direction>
    <scene_description>She turns the bathtub 's hot water tap -</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Is it still bleeding?</dialogue>
    <parenthetical>( touches the wound . )</parenthetical>
    <dialogue>It's still bleeding. why is it still bleeding.</dialogue>
    <scene_description>She pulls a length of dental floss from its case -</scene_description>
    <character>BLOMKVIST</character>
    <parenthetical>( ADR . )</parenthetical>
    <dialogue>Is that dental floss?</dialogue>
    <character>SALANDER</character>
    <dialogue>Yes.</dialogue>
    <scene_description>Splits it in two thinner lengths with her chewed finger nails - Feeds one of the lengths of floss through the eye of a needle -</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>What is that -.</dialogue>
    <parenthetical>( he can see it 's a needle . )</parenthetical>
    <dialogue>Is that necessary?</dialogue>
    <character>SALANDER</character>
    <dialogue>Yes.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>We ca n't just tape it?</dialogue>
    <character>SALANDER</character>
    <dialogue>No.</dialogue>
    <scene_description>She perches on the edge of the tub where he sits - still in his pants - half - submerged in tepid water - bottle of vodka in his hand .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Did you sterilize that?</dialogue>
    <character>SALANDER</character>
    <dialogue>No.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>You did n't?</dialogue>
    <scene_description>She splashes some of the vodka on the needle . Most of it goes in the water . Hands the bottle back to him .</scene_description>
    <character>SALANDER</character>
    <dialogue>Drink some more.</dialogue>
    <scene_description>He takes a swig from the vodka bottle . She reaches to his face with the needle and floss -</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Careful, it's my eye.</dialogue>
    <character>SALANDER</character>
    <dialogue>Do n't move.</dialogue>
    <scene_description>It takes all he 's got not to move , and even that is n't enough as she first sticks the needle through the flesh . He pulls away with a groan . She just looks at him . Waits for him to take another swig of vodka to steel himself . She pierces him a second time , draws the floss through the skin . And after that it does n't seem to be so bad . As she works , his eyes glance to hers with a mixture of dread and gratitude , but hers are focused on the work . Hers then briefly glance to his , but now his are down .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE - A FEW MINUTES LATER - NIGHT</stage_direction>
    <scene_description>He comes out of the bathroom in his soaking wet pants and collapses on the bed . She works to pull his pants off .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>What am I doing here. why did I ever come up here.</dialogue>
    <scene_description>He touches the wound and looks at his fingers -</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>It's too dark to see. did it stop bleeding. I think maybe it has. it still fucking hurts.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE - A FEW MINUTES LATER - NIGHT</stage_direction>
    <scene_description>She regards the surveillance monitor , the night - vision views of the cottage . She ca n't believe it but she feels vigilant more for his sake than her own . She goes to a window and looks out . Sees her own reflection in the glass and studies it . Then kicks her boots off .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE - MOMENTS LATER - NIGHT</stage_direction>
    <scene_description>She comes into the bedroom in her t - shirt and underwear . He 's still muttering without looking at her .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>It was n't an accident. Somebody was shooting at me. It's insane. these people are insane.</dialogue>
    <character>SALANDER</character>
    <dialogue>No one's shooting at you now.</dialogue>
    <scene_description>She pulls her t - shirt over his stitched - up head , cocooning it against her breasts . Silence . Then -</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>I'm pretty sure this is n't a good idea.</dialogue>
    <character>SALANDER</character>
    <dialogue>Why.</dialogue>
    <scene_description>He extracts his head from the cocoon and looks at her .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Apart from the fact that I'm old, we work together.</dialogue>
    <character>SALANDER</character>
    <dialogue>You work with what's - her - name. That's worked out for you.</dialogue>
    <scene_description>He nods . That 's true . Then -</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>I have some standards of behavior, believe it or not.</dialogue>
    <character>SALANDER</character>
    <dialogue>You need to stop talking.</dialogue>
    <scene_description>She climbs on top of him .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE - LATER - NIGHT</stage_direction>
    <scene_description>Afterwards . She opens his dwindling pack of cigarettes . Lights one . Glances over to him lying next to her . He 's not looking at the smoke but rather the startling tattoos on her bare legs and arms . Eventually -</scene_description>
    <character>SALANDER</character>
    <dialogue>You want me to open a window?</dialogue>
    <scene_description>He shakes his head no . Reaches for the cigarette . Takes a drag . Hands it back .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE - MORNING</stage_direction>
    <scene_description>He wakes . Comes out to find a proper place setting on the table . Sits with Salander . Listens to that awkward , but not altogether unpleasant silence you always hear in this situation the next morning . She breaks it -</scene_description>
    <character>SALANDER</character>
    <dialogue>I like working with you.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I like working with you, too.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. MARTIN'S HOUSE - DAY</stage_direction>
    <scene_description>Establish .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MARTIN'S HOUSE - DAY</stage_direction>
    <scene_description>Frode and Martin stare at Blomkvist 's unprofessionally sutured head wound ; Salander near him like an emaciated bodyguard .</scene_description>
    <character>FRODE</character>
    <dialogue>People hunt on the island, Mikael. Gunner's out there shooting something almost every day for his dinner. It could have been a stray shot.</dialogue>
    <character>MARTIN</character>
    <dialogue>Not from Gunner. If he wanted to shoot him, he'd have shot him.</dialogue>
    <character>FRODE</character>
    <dialogue>We get poachers. They're not always such great shots.</dialogue>
    <character>MARTIN</character>
    <dialogue>Or he's right, Dirch. What if he is? This has to stop.</dialogue>
    <scene_description>Frode regards Blomkvist .</scene_description>
    <character>FRODE</character>
    <dialogue>Do you want to stop?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I have police reports, photos, Henrik's notes, my own notes, and Lisbeth's research. What I do n't have are Vanger Industries records. That's what I want.</dialogue>
    <character>FRODE</character>
    <dialogue>Why?</dialogue>
    <scene_description>Blomkvist does n't say . Only -</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Will you authorize it?</dialogue>
    <character>FRODE</character>
    <dialogue>I could but why on earth would I?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Because I'm asking.</dialogue>
    <character>FRODE</character>
    <dialogue>The private corporate records.</dialogue>
    <parenthetical>( Blomkvist nods . )</parenthetical>
    <dialogue>How far back?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>All the way.</dialogue>
    <scene_description>Frode exchanges a look with Martin .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Henrik said I have access to everything I need. This is what I need.</dialogue>
    <character>FRODE</character>
    <dialogue>That's not what he meant.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Let's ask him.</dialogue>
    <character>FRODE</character>
    <dialogue>He's not well enough to ask.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I'd be happy to sign a nondisclosure statement, if that helps you.</dialogue>
    <character>FRODE</character>
    <dialogue>Excuse us a moment.</dialogue>
    <scene_description>Frode and Martin step away to confer in private .</scene_description>
    <character>MARTIN</character>
    <dialogue>I think Henrik would say yes.</dialogue>
    <character>FRODE</character>
    <dialogue>That's why he has me. To protect him from himself. This is insane.</dialogue>
    <character>MARTIN</character>
    <dialogue>What do we have to hide?</dialogue>
    <character>FRODE</character>
    <dialogue>Over the course of 120 years of doing business? Plenty.</dialogue>
    <character>MARTIN</character>
    <dialogue>If he needs this to do his job, he should have permission.</dialogue>
    <scene_description>This goes against every privileged , confidential bone in the lawyer 's body . He can only stare at Blomkvist and Salander across the room , wondering why he hired either one of them .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HEDEBY ISLAND - LATER - DAY</stage_direction>
    <scene_description>Blomkvist and Salander walk down the road from Martin 's house .</scene_description>
    <character>SALANDER</character>
    <dialogue>What am I looking for?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Any connections between the company's holdings and the towns where the women were killed. and everything about Frode.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. HEDESTAD - DAY</stage_direction>
    <scene_description>Vanger Industries ' corporate archives are kept in the oldest building in the town 's warehouse district . The rumble of Salander 's motorcycle announces her arrival .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE - SAME TIME - DAY</stage_direction>
    <scene_description>Like someone visiting a relative they never liked , Blomkvist reviews yet again the photos from ` that day ' - scrolling through the bridge accident shots - He stops . One of the figures has something in his hand he had n't noticed before . It and the figure are somewhat blurred in movement - but it looks like a gun . He sharpens the contrast to reveal that the gun is in fact a Hasselblad - type camera . Looks at the man 's face - then at his wall of Vanger family photos - unhappy to see it matches Harald .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. VANGER INDUSTRIES - LATER - DAY</stage_direction>
    <scene_description>Carbon - copied or original documents from the 50 's and 60 's surround Salander like the water around the island : Financial analyses , annual reports , internal memoranda , trade union agreements , brittle news clippings , corporate staff photographs , one of which she 's regarding now : A much younger Frode , posing against a wall of law books .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE - DAY</stage_direction>
    <scene_description>The photo of Harald in his Nazi uniform on the wall .</scene_description>
    <character>BLOMKVIST</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Your father was taking pictures that day no one has seen.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CECILIA'S HOUSE - DAY</stage_direction>
    <scene_description>Cecilia looks at the blurred bridge photo of Harald with the camera in his hand . Then at Blomkvist , coolly .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>I'd like to if I could.</dialogue>
    <character>CECILIA</character>
    <dialogue>So ask him.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I was wondering if you could do that.</dialogue>
    <character>CECILIA</character>
    <dialogue>I do n't speak to him, as you know.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>You could n't make an exception in my case.</dialogue>
    <scene_description>He gives her his most disarming smile . It usually works with women , but does n't seem to have much affect on her .</scene_description>
    <character>CECILIA</character>
    <dialogue>Are you afraid to be in the same room with him? I'm not saying you should n't be.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>You wo n't help me?</dialogue>
    <character>CECILIA</character>
    <dialogue>Sorry.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. VANGER INDUSTRIES - DAY</stage_direction>
    <scene_description>Salander gets up and crosses to an anteroom where an unhappy older woman - the archive manager - seems to be doing nothing but waiting for the strange girl to leave .</scene_description>
    <character>LINDGREN</character>
    <dialogue>Are you finished?</dialogue>
    <character>SALANDER</character>
    <dialogue>No. I need to know where all the factories, offices and projects were from 1949 to 1966.</dialogue>
    <character>LINDGREN</character>
    <dialogue>You already have everything.</dialogue>
    <character>SALANDER</character>
    <dialogue>I do n't. Nothing on subsidiary corporations, partnerships, or suppliers.</dialogue>
    <character>LINDGREN</character>
    <dialogue>Then you'll have to do without.</dialogue>
    <character>SALANDER</character>
    <dialogue>Mr. Frode said I have access to whatever I need, and I need this.</dialogue>
    <character>LINDGREN</character>
    <dialogue>He said you have access to this floor.</dialogue>
    <character>SALANDER</character>
    <dialogue>Call him.</dialogue>
    <scene_description>The woman stares at her for a long moment , then picks up the phone .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ARCHIVES - DAY</stage_direction>
    <scene_description>Stairs lead them to a higher floor . The woman climbs a step - stool . Pulls a couple of large binders from a high shelf . Salander does n't help her off the stool and the woman looks at her even more unhappily than before .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HARALD'S DEN - DAY</stage_direction>
    <scene_description>The blinds , as usual , closed . Couple of lamps throw shadows on the walls which display hunting and military trophies - wild game heads , sabers and vintage firearms - some of Harald 's dearer photographs - some photographs in dusty frames . Blomkvist , alone in the room , looks at them : Swedish Nazi leader in the 1930 's .</scene_description>
    <character>HARALD</character>
    <dialogue>Sven Olof Lindholm.</dialogue>
    <scene_description>The 92 - year - old comes into the room from the kitchen , followed by a housekeeper with a tea tray . Indicates the younger man in the photo , also in a Nazi uniform , that Blomkvist is looking at .</scene_description>
    <character>HARALD</character>
    <dialogue>Me.</dialogue>
    <scene_description>Blomkvist nods . Has no idea what to say . But Harald waits for more of a response . Finally -</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Handsome.</dialogue>
    <character>HARALD</character>
    <parenthetical>( taps another . )</parenthetical>
    <dialogue>Birger Furugard. Me.</dialogue>
    <parenthetical>( and another . )</parenthetical>
    <dialogue>Per Engdahl.</dialogue>
    <parenthetical>( and another . )</parenthetical>
    <dialogue>Me.</dialogue>
    <scene_description>Blomkvist 's eyes shift to a bolt - action Mauser infantry rifle displayed on a shelf .</scene_description>
    <character>HARALD</character>
    <dialogue>But your interest is in my more candid photographic work.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. ARCHIVES - DAY</stage_direction>
    <scene_description>Spread out on the desk : A map of Sweden showing the factory sites and other Vanger holdings - and one she made earlier where the nine women were murdered . Dots appear at the same locations on both . On a handwritten list of the victims , she puts a check next to Rebecka Jacobsson , 1949 , Hedestad - moves on to Mari Holmberg , 1954 , Kalmar - begins sifting through the mountain of Vanger Industries clippings from that year -</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HARALD'S DEN - DAY</stage_direction>
    <scene_description>A bony Nazi pouring tea in a shadowy room with you is bad , but the rabbit - print tea cozy only makes it worse . Blomkvist tries to ignore him settling back in his worn leather chair with his chipped cup , and sifts through an old shoebox of unsorted photographs : A holiday at Lake Como , early 1950 's judging from the cars ; a Vanger family gathering long ago ; some men posing by a slain wild boar dangling from a rope . Harald holds out a pack of cigarettes . Blomkvist comes over , pulls one out .</scene_description>
    <character>HARALD</character>
    <dialogue>Blom. kvist.</dialogue>
    <parenthetical>( lights the cigarette . )</parenthetical>
    <dialogue>With an ` o' - or a ` u.'</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>` o.'</dialogue>
    <character>HARALD</character>
    <dialogue>An ` o.' Blom - kvist.</dialogue>
    <scene_description>Harald does n't say it , but his nod means , ` not Jewish then . Good ' Blomkvist returns to the photos , glancing up occasionally to the smoke curling up past Harald 's face as he examines the journalist at work .</scene_description>
    <character>HARALD</character>
    <dialogue>I'm not a recluse. I do n't close my door to anyone. They just do n't visit.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Perhaps if you redecorated.</dialogue>
    <character>HARALD</character>
    <dialogue>Hide the past like they do. Under a thin, shiny veneer. Like an Ikea table.</dialogue>
    <parenthetical>( Blomkvist shrugs . )</parenthetical>
    <dialogue>I'm the most honest of all of them.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>The family.</dialogue>
    <character>HARALD</character>
    <dialogue>Sweden.</dialogue>
    <scene_description>Blomkvist opens another shoebox . Lying on top is a photograph of the bridge accident , and , under it , a few more . He takes them out and angles them toward a lamp .</scene_description>
    <character>HARALD</character>
    <dialogue>Two point eight.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Pardon me?</dialogue>
    <character>HARALD</character>
    <dialogue>The Zeiss Tessar on my Hasselblad. Excellent lens.</dialogue>
    <scene_description>Blomkvist tries to nod appreciatively , but the bridge photos do n't tell him anything he does n't already know . He finds several more that appear to be a hunting expedition - men and blood hounds - but then sees Morell in one , more policemen , and a stricken Henrik in boots and raincoat , and realizes this is the search party . Off to the side , a young man , head turned half away , wearing a dark blazer with a gold patch , which that 2.8 Zeiss lens makes clear is a prep school insignia . A lion .</scene_description>
    <character>HARALD</character>
    <dialogue>Landscape? Some nice landscapes there.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>No, it's - I ca n't tell who it is from this angle.</dialogue>
    <scene_description>He takes the photo over to the Nazi who only has to glance at it a moment to recognize his late nephew 's son :</scene_description>
    <character>HARALD</character>
    <dialogue>That's Gottfried's boy.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Martin?</dialogue>
    <scene_description>Harald nods , hands it back , smokes . It 's not unusual Martin would have joined the search party - it would be unusual if he had n't - it 's his sister that 's missing - but this blazer he 's wearing troubles Blomkvist -</scene_description>
    <character>HARALD</character>
    <dialogue>Handsome but useless young man, Martin. Like his father.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. ARCHIVES - DUSK</stage_direction>
    <scene_description>The archive manager shoulders her purse , locks her anteroom , and approaches Salander .</scene_description>
    <character>LINDGREN</character>
    <dialogue>We're closing.</dialogue>
    <character>SALANDER</character>
    <parenthetical>( without looking up . )</parenthetical>
    <dialogue>Nowhere near finished.</dialogue>
    <character>LINDGREN</character>
    <dialogue>I'm not staying late.</dialogue>
    <character>SALANDER</character>
    <dialogue>I am. And I need access to all the rooms, including any that are locked.</dialogue>
    <parenthetical>( nothing from the woman . )</parenthetical>
    <dialogue>Call Frode.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. HOSPITAL - DUSK</stage_direction>
    <scene_description>As Henrik naps and Martin clears his dinner tray , Frode listens to the caller on the room phone -</scene_description>
    <character>LINDGREN</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>She wants to look at everything. I do n't like her and I do n't trust her. There's something wrong with her.</dialogue>
    <character>FRODE</character>
    <dialogue>Hang on a second -.</dialogue>
    <parenthetical>( to Martin . )</parenthetical>
    <dialogue>I'm going to let you decide. It's Ms. Lindgren again.</dialogue>
    <character>MARTIN</character>
    <parenthetical>( takes the phone . )</parenthetical>
    <dialogue>Yes, Ingrid, what's the problem?</dialogue>
    <character>LINDGREN</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>This girl wants a set of keys now. To my room as well. It's outrageous.</dialogue>
    <character>MARTIN</character>
    <dialogue>It's fine. Just tell her to make sure to leave the keys with security when she's done.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. ARCHIVES - DUSK</stage_direction>
    <scene_description>Having found nothing of interest in the 1954 files , Salander moves on to the 1957 killing of Rakel Lunde . The older woman comes back . Drops a set of keys on the desk .</scene_description>
    <character>LINDGREN</character>
    <dialogue>Stay all night if you want. Leave the keys with the guard.</dialogue>
    <scene_description>The woman leaves . Her footsteps echo and fade . Salander reads a yellowed clipping from a Landskrona newspaper : It 's about Vanger Industries hiring a local contractor , Carlen Construction , to build a plant . Gottfried Vanger - here to sign the contract . But all that really interests Salander is the date . The article was published one day after the paper printed the story of the discovery of Rakel 's battered naked body . Salander flips through the handwritten notes she made during her talk with the retired detective in Landskrona - and finds that part - time palm reader Rakel 's main job was as a cleaning woman for Carlen Construction . The detective interviewed her co - workers , but no one from Vanger Industries , including that firm 's representative in town for a few days , Gottfried Vanger . Gottfried Vanger . which one was he again ? Salander brings up on her laptop photographs she took of the wall of the cottage : the Vanger family tree . Gottfried Vanger , Son of Margareta & Richard the Nazi Husband of crazy Isabella , Father of Martin and Harriet Of all the Vangers - at least back in 1950 when Harriet was born - Gottfried was the most handsome . Clark Gable good looks . She puts a check next to Rakel 's name and returns to Mari Holmberg and the 1954 Vanger files .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE - EVENING</stage_direction>
    <scene_description>Blomkvist flips through one of Morell 's reports stating everyone 's whereabouts on the day Harriet 's disappeared . INSERT : Across from Martin Vanger 's name it reads : `` Arrived on 4:30 train . '' He brings up the Photoshop - enhanced Brannlund parade photo on his laptop - INSERT : The figure with the blazer and pocket patch standing near the watch repair clock , which reads : 2:00 . And the photo Harald let him take with him of ` Gottfried 's useless boy ' - INSERT : Young Martin with the search party , the emblem clearly visible on his blazer pccket . He shuffles through copies of articles in Salander 's victims ' files . Looks at the last one , Lena Andersson , 1967 . The photo is a school wallet photo - INSERT : She 's wearing a sweater with the same Uppsala Prep School lion emblem as Martin . He looks at Mildred 's parade photo of the figure standing near the watch repair clock . It reads , 2:00 . And the photo Harald let him take with him of ` Gottfried 's useless boy ' with the search party . In it and the parade photo , he 's wearing the same blazer . He shuffles through copies of articles in Salander 's victims ' files . Looks at the last one , Lena Andersson , 1967 . The photo is a school wallet photo - in a sweater with the same Uppsala Prep School lion emblem as Martin .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. VANGER ARCHIVES - EVENING</stage_direction>
    <scene_description>Knowing what she 's looking for now , Salander finds it fairly quickly : A clipping about a timber company Vanger Industries bought in Kalmar and an interview in its local paper with Gottfried , two days after Mari 's murder . She jumps to 1960 - Magda Lovisa Sjoberg - Karlstad - and an article in its local paper - this time with a photo of Gottfried - about a union dispute at its factory there .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. COTTAGE - EVENING</stage_direction>
    <scene_description>Blomkvist comes out with his cell phone , tries to make a bar or two materialize on it . Dials but only gets a beep that asks him if he wants to ` retry . ' He does n't . Instead , under the darkening sky , he looks off to the point . Martin 's house is small in the distance , but he can see there 's no car in the driveway and no lights on . He stares at it for a long time .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. VANGER ARCHIVES - EVENING</stage_direction>
    <scene_description>Salander pulls a 1962 Uddevalla paper from the files . Same day this time , the same page of the newspaper : Lea Persson 's horrific murder and an story quoting Gottfried about an expansion project to the town 's harbor . She regards Gottfried 's newsprint photo : His face looks more than 8 years older than the one in Kalmar but that 's what drinking to excess , and murder perhaps , does to you .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE - EVENING</stage_direction>
    <scene_description>Blomkvist lays the Lena Andersson article - and the photograph of the figure at the parade - atop the rest of the junk on the desk - and quickly scrolls through photos on his laptop , leaving on the screen for Salander to see when she returns : Martin 's recent Vanger Industries PR portrait .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ARCHIVES - NIGHT</stage_direction>
    <scene_description>Salander has hit a snag . Gets up . We stay to have a look at the problem she leaves : the victims list - now with `` Gottfried '' jotted down next to all but one name : 1967 - Lena Andersson - Uppsala Next to it , the newspaper article about the murdered girl , with a school photo . And , next to that , the reason there 's no `` Gottfried '' notation : his obituary in a Hedestad Courier clipping : 1965 . We listen to the fading echo of Salander 's footsteps -</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ARCHIVES - SAME TIME - NIGHT</stage_direction>
    <scene_description>As annoying as the older woman was , it was less creepy with her around . Salander is alone in the old building now , wandering through it looking for vending machines . She finds some . Drops coins in one . A cup fills with coffee . She gets a candy bar from another . The coffee machine finishes . The place again plunges into silence . She starts back with her snack down a hallway -</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HEDEBY ISLAND - NIGHT</stage_direction>
    <scene_description>Trying to look like he 's just out for a stroll , Blomkvist walks past Martin 's dark house , then turns around , walks up the front path to the porch and makes a show of knocking on the door , just in case anyone on the island can see him , which is doubtful in this darkness . He tries the door . Locked . Comes down off the porch as if leaving , but then veers off the path and walks around to the side of the house . He peers through a floor - to - ceiling window , but ca n't see much inside . Comes around to the back and looks in another window . Tries the back door . Unlocked .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MARTIN'S HOUSE - CONTINUOUS</stage_direction>
    <scene_description>He ca n't see a lot in the dark , but does n't dare switch on any lights . He crosses through the kitchen , but we stay behind to regard a closed basement door . We pick him up again as he comes into the living room , follow him to a wall of glass . It 's pitch black outside . We follow him down a hallway - but stop at a bedroom doorway as if this is as far as we care to go . We stay at the threshold and watch him go in and look around . As he begins rummaging around the recesses of a closet -</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. THE BRIDGE - NIGHT</stage_direction>
    <scene_description>A pair of headlights comes across the bridge .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MARTIN'S HOUSE - NIGHT</stage_direction>
    <scene_description>Blomkvist comes back to the wall of glass . Still no lights out there . Heads off to the hall again .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HEDEBY ISLAND - NIGHT</stage_direction>
    <scene_description>The car parks fifty yards from Blomkvist 's cottage . The headlights blink off . Someone climbs out .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MARTIN'S HOUSE - NIGHT</stage_direction>
    <scene_description>Blomkvist comes into a study . Lots of books and framed photographs . He begins looking around .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HEDEBY ISLAND - NIGHT</stage_direction>
    <scene_description>The headlights come up the road leading to the point .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MARTIN'S HOUSE - NIGHT</stage_direction>
    <scene_description>Blomkvist approaches a gun case in the study . Hunting rifles . Three of them - and an empty space for a fourth one . The trees outside the study window flare with light . A moment later , Blomkvist hears a sound of tires on gravel . Martin is back , and Blomkvist is in his house . We rush back down the hall with Blomkvist . Hopefully Martin will enter through the front door because we 're going to try to get out the back one - Blomkvist trips over something in the dark and we go down with him . Then up again - through the kitchen - past the basement door - grabs a knife from a drawer - shoves it in a back pocket - hurries out the rear door -</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. MARTIN'S HOUSE - CONTINUOUS</stage_direction>
    <scene_description>Blomkvist tries to steady his breathing as he slinks around the side of the house . As he passes a window , it lights up - and we again hit the ground with him . He hurries across the yard , trips over something in the dark - a sprinkler ? - and goes down again into wet muck . He gets up and starts down the road as if returning from a leisurely evening walk - which would be more convincing without the limp - not daring to look back as he goes .</scene_description>
    <character>MARTIN</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>Hello? Mikael?</dialogue>
    <scene_description>Blomkvist stops . His heart pounds . Martin comes down his porch and walks toward his car .</scene_description>
    <character>MARTIN</character>
    <dialogue>Your evening stroll?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Hi. How are you?</dialogue>
    <scene_description>Martin pulls a golf bag from his trunk and shoulders it .</scene_description>
    <character>MARTIN</character>
    <dialogue>I stopped at the hospital on my way home. Henrik asked me to ask you something.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>What.</dialogue>
    <character>MARTIN</character>
    <dialogue>Come on in, I'll make you a drink.</dialogue>
    <scene_description>Naturally , this is the last thing Blomkvist wants to do , but it would be more suspicious if he refuses . He heads back to Martin 's house , trying not to limp .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ARCHIVES - NIGHT</stage_direction>
    <scene_description>Finished with her candy bar and coffee , Salander opens the 1967 files , looks through the clippings for anything of note in Uppsala , where Lena was killed . She finds no news of factories opening there that year , but she does come across a PR newsletter about a winter retreat for fifty employees and their families . There 's a photo of Henrik presenting someone with a Best Worker of the Year plaque . And another taken at a dinner for twenty guests and Vanger family members : The camera has captured Henrik presiding at the head of the table , putting on a brave face , raising a champagne flute - as everyone else does the same - except for the young man at the far right foreground . He looks sullen . But what teenager would n't at an event as boring as this . Salander would look even more sullen . She checks the caption and reads : . far right , Martin Vanger -LRB- 19 -RRB- , currently studying in Uppsala . Uppsala . Same place as Lena - though it 's what young Martin is wearing that strikes her : an Uppsala private school blazer with a lion on its pocket - the same as on Lena Andersson 's sweater in the photo of her in the article about her murder .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MARTIN'S HOUSE - NIGHT</stage_direction>
    <scene_description>It 's not as eerie with the lights on - except for the fact there 's a killer in it . Martin sets the golf clubs down and begins emptying a grocery bag in the kitchen .</scene_description>
    <character>MARTIN</character>
    <dialogue>What happened to you?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>When.</dialogue>
    <character>MARTIN</character>
    <dialogue>Now.</dialogue>
    <scene_description>Blomkvist 's clothes . The fresh mud stains .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>I fell in the dark.</dialogue>
    <character>MARTIN</character>
    <dialogue>You do n't have a flashlight? I'll give you one.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I just was n't being careful.</dialogue>
    <scene_description>Martin smiles , but Blomkvist is n't sure what he said warrants one . Martin begins rummaging through a drawer for a flashlight . The knife block - with one missing - is right there .</scene_description>
    <character>MARTIN</character>
    <dialogue>How's the investigation?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Nothing new to report.</dialogue>
    <scene_description>Blomkvist notices a drop of blood from his pantleg on the stone floor and covers it up with his shoe . Martin , not seeming to notice , finds a mini - Maglite in the drawer .</scene_description>
    <character>MARTIN</character>
    <dialogue>Dirch says Ms. Salander is clever. Maybe she'll turn something up.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Maybe.</dialogue>
    <scene_description>Martin hands Blomkvist the mini - Maglite .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Thanks.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. ARCHIVES - NIGHT</stage_direction>
    <scene_description>Salander scrolls through laptop photos to the one at the parade taken by the Brannlund woman on her honeymoon ; the people across the street and the blurry figure wearing the blazer with the `` pocket square '' .</scene_description>
    <character>SALANDER</character>
    <dialogue>Hello, Martin.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. MARTIN'S KITCHEN - LATER</stage_direction>
    <scene_description>Martin pours Scotch . Hands one to Blomkvist .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>What did he say?</dialogue>
    <character>MARTIN</character>
    <dialogue>What?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>You said Henrik asked you to ask me something.</dialogue>
    <character>MARTIN</character>
    <dialogue>I just did.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>What?</dialogue>
    <character>MARTIN</character>
    <dialogue>How the investigation's going. That was his question.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Oh.</dialogue>
    <scene_description>Blomkvist 's eyes only dart to a rifle bag leaning against the wall next to a box of shells , but Martin follows them .</scene_description>
    <character>MARTIN</character>
    <dialogue>You hunt? We should go hunting together sometime.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Sure.</dialogue>
    <scene_description>They drink . Listen to a silence .</scene_description>
    <character>MARTIN</character>
    <dialogue>Nothing at all?</dialogue>
    <parenthetical>( Blomkvist does n't know what he means . )</parenthetical>
    <dialogue>New. To report.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>No.</dialogue>
    <scene_description>Martin regards Blomkvist in another silence . Then -</scene_description>
    <character>MARTIN</character>
    <dialogue>I can see you're anxious.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>No.</dialogue>
    <character>MARTIN</character>
    <dialogue>To get home. After your walk.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I suppose I am.</dialogue>
    <character>MARTIN</character>
    <dialogue>To have dinner. With your girlfriend.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>My assistant. Yes.</dialogue>
    <character>MARTIN</character>
    <dialogue>We'll have better luck with a gun.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Sorry?</dialogue>
    <character>MARTIN</character>
    <dialogue>When we go hunting.</dialogue>
    <scene_description>Martin pulls open a bar drawer and takes from it a handgun .</scene_description>
    <character>MARTIN</character>
    <dialogue>A gun. Rather than a knife.</dialogue>
    <scene_description>He gives a little gesture with it to the handle of the knife protruding from a back pocket of Blomkvist 's jeans . There are fresh drops of blood on the floor next to his shoes .</scene_description>
    <character>MARTIN</character>
    <dialogue>You just could n't stay away, could you.</dialogue>
    <scene_description>Blomkvist does n't know what to say . Martin 's demeanor , even in this situation , remains cordial .</scene_description>
    <character>MARTIN</character>
    <dialogue>I want to show you something. Bring your drink. Leave the knife.</dialogue>
    <scene_description>Blomkvist 's hope of getting out of here unscathed is pretty much gone now . He pulls the knife from his back pocket and sets it on a side table .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. VANGER ARCHIVES BUILDING - NIGHT</stage_direction>
    <scene_description>Salander strides past the napping night watchman without leaving the keys or bothering to tell him she 's done .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. VANGER ARCHIVES BUILDING - NIGHT</stage_direction>
    <scene_description>Crossing the empty parking lot , she tries Blomkvist on her cell . Gets his voice mail . Kick - starts her bike .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MARTIN'S HOUSE - NIGHT</stage_direction>
    <scene_description>Martin `` leads '' Blomkvist from behind back to the kitchen , switching off lights as they go .</scene_description>
    <character>MARTIN</character>
    <dialogue>You know what's harder than shooting someone? Just missing them. That was a very good shot up at the cabin.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>It did n't work. I'm here.</dialogue>
    <character>MARTIN</character>
    <dialogue>Mikael, it did work. You're here.</dialogue>
    <scene_description>They come through a pantry , at the end of which is a door .</scene_description>
    <character>MARTIN</character>
    <dialogue>Open it.</dialogue>
    <scene_description>Blomkvist does . Sees steps leading into darkness . As they descend Martin flicks a switch and bare fluorescent tubes flicker on to reveal : A furnace . Washer . Dryer . Old discarded furniture . And another door . A steel one . As they approach it , Martin presses a little remote and the lock on the steel door clicks .</scene_description>
    <character>MARTIN</character>
    <dialogue>Push it open.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BASEMENT ANTEROOM - CONTINUOUS</stage_direction>
    <scene_description>As Blomkvist steps across the threshold -</scene_description>
    <character>MARTIN</character>
    <dialogue>Switch is on the left.</dialogue>
    <scene_description>Blomkvist flips it and a row of overhead fluorescent tubes flickers on - one after the other - revealing a subterranean torture chamber : Metal eyelets bolted to the concrete walls and ceiling and floor - table with leather straps - bed with leather straps - steel - mesh cage - work bench with handsaws and other tools - Blomkvist takes it in with one glance and immediately turns to try to smash the glass in his hand into Martin 's face - which is covered now with a plastic oxygen mask he holds to it . Gas plumes down on Blomkvist from above ; the glass comes out of his hand , shattering on the cement floor -</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HEDEBY ISLAND - NIGHT</stage_direction>
    <scene_description>The Honda 's single headlight shudders as Salander comes across the bridge onto the island .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MARTIN'S BASEMENT - CONTINUED</stage_direction>
    <scene_description>Blomkvist comes to on the floor , handcuffed to a chain that runs through a metal eyelet . He sees Martin behind a video camera on a tripod , focusing it - a shelf full of Betamax tapes - and a TV monitor on which his own image then appears . Note : the steel door if we were close enough to it to notice - which we are n't - is not locked . It 's not even completely shut . Satisfied with the framing of the shot of his guest , Martin takes a seat on a comfortable armchair upholstered in clear plastic . It squeaks . He regards Blomkvist calmly . Sips his drink . Then almost sighs .</scene_description>
    <character>MARTIN</character>
    <dialogue>Why did n't you just go home.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I assume you mean the opportunity for that has passed.</dialogue>
    <scene_description>Martin smiles , appreciating , perhaps , Blomkvist 's `` easy '' manner in this dire circumstance .</scene_description>
    <character>MARTIN</character>
    <dialogue>How'd you do it? What did you find?</dialogue>
    <scene_description>Blomkvist does n't say . Martin looks like he has all the time in the world to wait , and does . Then -</scene_description>
    <character>MARTIN</character>
    <dialogue>We can talk or we can just get on with it. It's really up to you.</dialogue>
    <scene_description>Nothing from Blomkvist . Martin shrugs ` okay , ' gets up , goes to his workbench and takes a plastic shower curtain from it . As he 's laying it on the floor around his victim , Blomkvist changes his mind -</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>I found a picture no one had seen before.</dialogue>
    <character>MARTIN</character>
    <dialogue>Of.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>You. In your Uppsala prep school blazer.</dialogue>
    <scene_description>Martin does n't see the significance , but is pleased Blomkvist has decided to `` participate . '' He rewards him by suspending his shower curtain work to return to the chair . It squeaks again .</scene_description>
    <character>MARTIN</character>
    <dialogue>What does that say?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>That you lied about where you were that day. Or rather when.</dialogue>
    <character>MARTIN</character>
    <dialogue>Did I? If I did, so what. People lie all the time.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>It also said that Lena Andersson was a schoolmate.</dialogue>
    <character>MARTIN</character>
    <dialogue>Lena.</dialogue>
    <parenthetical>( he has to think back to remember her . )</parenthetical>
    <dialogue>Lena was a long time ago.</dialogue>
    <parenthetical>( pause . )</parenthetical>
    <dialogue>Where's this picture now? With all the other junk on your desk?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>A print is. Digital copies are on a secure photo site.</dialogue>
    <character>MARTIN</character>
    <dialogue>That's a lie. How much does the girl know?</dialogue>
    <scene_description>Blomkvist is n't sure how to play that question .</scene_description>
    <character>MARTIN</character>
    <dialogue>Let's hope it's as much as you. That'll make it more fun. Where is she?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Stockholm. She went there this morning.</dialogue>
    <character>MARTIN</character>
    <dialogue>And that's a lie. She's sitting in our offices looking at more old crap. Our archives manager called me - very perturbed with this girl. Lisbeth. I like that name. Lisbeth. When Lisbeth leaves I'll get a call from security, so I can be at your cottage to greet her when she arrives -</dialogue>
    <scene_description>He holds up the keys he took from Blomkvist 's pocket when he was out cold .</scene_description>
    <character>MARTIN</character>
    <dialogue>I ca n't thank you enough for bringing her to me.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE - NIGHT</stage_direction>
    <scene_description>As Salander gets the door open with her key and comes in -</scene_description>
    <character>SALANDER</character>
    <dialogue>Mikael -?</dialogue>
    <scene_description>He 's clearly not here . She goes to the closet . Takes out the surveillance PC . Puts it on the desk - next to Blomkvist 's laptop which is now displaying - not the photo of Martin he left for her - but the Apple default `` light spider '' screen saver . As Salander begins rewinding the captured surveillance images backwards at high speed to get to earlier in the day -</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MARTIN'S BASEMENT - CONTINUED</stage_direction>
    <scene_description>Martin reframes the video camera to include part of himself in the shot , sits again and crosses his leg like this is a talk show .</scene_description>
    <character>MARTIN</character>
    <dialogue>So what would you like to know?</dialogue>
    <scene_description>There are so many things , but also no point , so Blomkvist says nothing .</scene_description>
    <character>MARTIN</character>
    <dialogue>You're the journalist, ask me something.</dialogue>
    <scene_description>Nothing from Blomkvist . Which is okay with Martin ; he can do this alone -</scene_description>
    <character>MARTIN</character>
    <dialogue>What do I do with my guests? Is that the question? Well, before - I do what we're doing. Relax, have a drink, converse. I like that part a lot - having a chat when you both know one of you is going to die. After - I simply get rid of them. Out to sea -.</dialogue>
    <parenthetical>( points off . )</parenthetical>
    <dialogue>- unlike my father leaving them scattered all over the place like trophies. That's not smart if you ask me. That's just garish and loud. But he was a garish and loud man. Frankly, he got what he deserved.</dialogue>
    <scene_description>Nothing from Blomkvist , but he is wondering now what happened to Gottfried if the drowning was n't accidental .</scene_description>
    <character>MARTIN</character>
    <dialogue>You ca n't be a sloppy technician like that. You ca n't drink to excess like he did. This takes discipline. It's a science of a thousand details. The planning. The execution. The cleanup. I'm sure I do n't have to tell you you're going to make quite a mess.</dialogue>
    <scene_description>Nothing from Blomkvist , but Martin nods . -LRB- `` How do you do this and still function in normal society ? '' -RRB-</scene_description>
    <character>MARTIN</character>
    <dialogue>That's the interesting thing. Because most of the time I am just like everyone else. I just have a bigger secret. It's wonderful really - standing there waiting for a train - or on a street corner as people brush past me. You know what I mean ; you have secrets. You had one when you came up here. It made you feel - special. Did n't it?</dialogue>
    <scene_description>Blomkvist does n't say . Martin is a little thrown by Blomkvist 's next unspoken comment - -LRB- `` Yes , but my secrets are n't rape and murder '' -RRB-</scene_description>
    <character>MARTIN</character>
    <dialogue>No. I'm not a rapist. Of course I do that too - and at one time it was enough - but -.</dialogue>
    <parenthetical>( gathers his thoughts to explain it . )</parenthetical>
    <dialogue>A rapist, Mikael, gets off on domination. I need.</dialogue>
    <parenthetical>( discards a few other words before : . )</parenthetical>
    <dialogue>- destruction.</dialogue>
    <scene_description>Martin gets up and sets about the business of immobilizing Blomkvist further with a block - and - tackle contraption of chains and straps .</scene_description>
    <character>MARTIN</character>
    <dialogue>Can I ask you something? Why do n't people trust their instincts? They sense something's wrong - someone's walking too close behind them - yet they do n't cross the street. You knew something was wrong - you even knew what it was - but you came back into the house. Did I force you? Did I grab you and drag you in? I just offered you a drink.</dialogue>
    <parenthetical>( pause . )</parenthetical>
    <dialogue>You'd never think the fear of offending could be stronger than the fear of pain - but you know what? It is. They always come willingly.</dialogue>
    <scene_description>It amazes him . It always amazes him . He keeps working .</scene_description>
    <character>MARTIN</character>
    <dialogue>And then they're here. They know it's over like you do - and still somehow think they have a chance. `` Maybe if I say the right thing - if I'm polite - or I cry and beg - maybe I'll survive.''</dialogue>
    <parenthetical>( regards Blomkvist . )</parenthetical>
    <dialogue>And then the moment comes when they realize. no, all hope is gone And when that happens - when I see the hope draining from their face like it is from yours right now -.</dialogue>
    <parenthetical>( whispers like it 's just between them . )</parenthetical>
    <dialogue>- well, I feel myself getting hard just watching it.</dialogue>
    <scene_description>Silence .</scene_description>
    <character>MARTIN</character>
    <dialogue>Say something.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>You are a sick fuck.</dialogue>
    <character>MARTIN</character>
    <dialogue>Is this an interview or an editorial?</dialogue>
    <scene_description>Blomkvist , of course , does n't answer , or comment , yet Martin considers what the journalist has n't said . -LRB- `` Martin , civilized people do n't do what you do . '' -RRB-</scene_description>
    <character>MARTIN</character>
    <dialogue>You're right, this behavior is unacceptable. I know that. But we're not completely different. We both have desires. Satisfying mine just requires more towels.</dialogue>
    <scene_description>Martin regards Blomkvist in a silence . Then -</scene_description>
    <character>MARTIN</character>
    <dialogue>Anything else you want to know?</dialogue>
    <parenthetical>( pause . )</parenthetical>
    <dialogue>You sure?</dialogue>
    <parenthetical>( pause . )</parenthetical>
    <dialogue>All right. Whatever you say.</dialogue>
    <scene_description>He yanks a chain that feeds through the pulleys that lift Blomkvist up onto his feet -</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE - NIGHT</stage_direction>
    <scene_description>Salander watches the surveillance images , forward - Blomkvist leaving the cottage and property on foot . Blomkvist returning to the cottage , going back inside . Blomkvist coming out and attempting a call on his cell . Blomkvist going back inside the cottage . Blomkvist coming out again and leaving the property . Blomkvist not coming back . Nothing but the sky darkening to night . Then - Headlights coming through frame . A figure appearing on foot at the front gate . The figure just standing there , looking at the cottage . The figure approaching it , and , as it 's trying the locked front door , the motion detection light snapping on and illuminating Martin . Martin moving to the side , looking in a kitchen window , coming around front again , walking to the gate , turning around , looking back , then walking out of frame .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MARTIN'S BASEMENT - NIGHT</stage_direction>
    <scene_description>Blomkvist hangs from the block - and - tackle rig , leather strap around his neck now , fed through a ceiling eyelet . With a big sewing scissors , Martin cuts through and removes Blomkvist 's pants and underwear -</scene_description>
    <character>MARTIN</character>
    <dialogue>It might amuse you to know that while you were over here having dinner with me and Liv - who, by the way, finds me very conventional - Irina was down here in the cage. Who's Irina, you ask? A girl I met in Belarus. Just another girl. Another immigrant whore. Who misses them?</dialogue>
    <scene_description>He returns to his work bench to lay out various tools next to his gun and a desk phone .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Your sister was n't just another girl.</dialogue>
    <scene_description>Martin comes back quickly and yanks a strap that cinches the noose tighter around Blomkvist 's neck as it lifts him onto his tiptoes .</scene_description>
    <character>MARTIN</character>
    <dialogue>What happened to her.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>You're choking me -</dialogue>
    <character>MARTIN</character>
    <dialogue>You found her?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>You killed her.</dialogue>
    <scene_description>Martin just stares at him confused . Then -</scene_description>
    <character>MARTIN</character>
    <dialogue>You useless fuckin detective.</dialogue>
    <scene_description>He lets go of the strap and Blomkvist 's feet come back down to the floor . As Martin returns to his workbench , Blomkvist is not only scared to death , but confused now . Did Martin not kill her ? Then Martin is back in front of him with a roll of cellophane , pulls on the strap again until Blomkvist is balancing on his tiptoes , and ties it off .</scene_description>
    <character>MARTIN</character>
    <dialogue>Too tight to talk?</dialogue>
    <scene_description>It is . Blomkvist can utter no sound but a gag .</scene_description>
    <character>MARTIN</character>
    <dialogue>Good. I'm tired of talking to you.</dialogue>
    <scene_description>He wraps Blomkvist 's head in cellophane , completely cutting off his ability to breathe , and calmly watches him struggle .</scene_description>
    <character>MARTIN</character>
    <dialogue>Would you like me to do something about that?</dialogue>
    <scene_description>Blomkvist desperately nods as he 's about to suffocate . Martin watches another several moments . then pokes a finger through the cellophane into Blomkvist 's gasping mouth .</scene_description>
    <character>MARTIN</character>
    <dialogue>See? I'm not a monster.</dialogue>
    <scene_description>He frames a wide shot of his naked prey . Turns on some music . Takes a moment to collect himself from all this strenuous work . Brushes back his hair like he wants to look presentable in the shot . Then smiles pleasantly -</scene_description>
    <character>MARTIN</character>
    <dialogue>You know, I've never had a man in here. I've never touched a man as a matter of fact. Except my father, of course. But that was my duty. Harriet's, too.</dialogue>
    <scene_description>The circulation to Blomkvist 's head is being cut off by the strap . His fingers behind his naked back claw at the concrete wall to try to relieve some of the weight on the noose , but ca n't get a grip . Martin watches the struggle calmly , and just as calmly offers :</scene_description>
    <character>MARTIN</character>
    <dialogue>It's time. I do n't want to be late for my date with our girlfriend.</dialogue>
    <scene_description>He puts on a plastic rain poncho . A painter 's mask . Plastic goggles . Surgeons gloves . Picks up a hunting knife . Steps up to Blomkvist . Looks at his eyes . Brings his own head close to his victim 's -</scene_description>
    <character>MARTIN</character>
    <dialogue>Goodbye, Mikael.</dialogue>
    <scene_description>He pulls the strap , lifting Blomkvist 's toes off the floor , closing off his air again . and is about to gut him like a wild boar . when he hears a sound like some kind of animal behind him . He turns and sees her - coming at him from out of the shadows by the steel door - He darts for the gun he left on the workbench - Salander just as quickly swings a 5 - iron - his 5 - iron - like a baseball bat . Its metal - wedged end arcs through the gloom and slams into the side of his head , sending him tumbling to the floor . He struggles up to his knees , and she swings the club again , splitting flesh and crushing bone as he crumples the floor . She takes the gun from the bench and shoves it in her other back pocket . Grabs the hunting knife and shackles key and hurries over to Blomkvist who only witnessed part of the spectacle before losing consciousness - She saws through the leather strap around his neck . Unlocks the chain . As he sinks to his knees on the floor , blood rushes to his head , bringing him back to life just enough to see what she ca n't behind her - Martin , blood streaming from the gash in his head , getting to his feet . But he 's not coming at them ; he 's trying to get out - Blomkvist tries to say her name to get her to look . Lifts a hand to try to point . She turns and glimpses the monster as he disappears out the steel door . Looks back at Blomkvist , still handcuffed on the floor , and , like a child asking a parent for permission -</scene_description>
    <character>SALANDER</character>
    <dialogue>May I kill him?</dialogue>
    <scene_description>Nothing in his life would allow him to agree to such a thing - until now . Now it 's as if her years of violence and degradation have been passed to him . He nods . She puts the hunting knife in his hand . Pulls the gun from her back pocket , checks the clip , flicks off the safety , and turns to leave -</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>He has more guns in the den -</dialogue>
    <character>SALANDER</character>
    <dialogue>I know.</dialogue>
    <scene_description>She comes up the basement stairs , leading with her gun . Distant thunder rumbles . She crosses through the kitchen to the living room , and down the hall to the study . She eases around the doorway - the room is empty - looks to the gun case - sees there are only two rifles there now . She hears an engine start outside . Hurries back through the house . Sees out the picture window the taillights of Martin 's car receding fast down the road as clouds burst . She bangs out the front door . Runs halfway down the hill in the rain to where she left her motorcycle , jumps on and kick - starts it .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. THE BRIDGE - NIGHT</stage_direction>
    <scene_description>She roars onto the bridge , chasing the taillights . Guns the bike to full throttle . Comes alongside him . He swerves to try to crush her against the railing - but she hits the brakes , avoiding the impact - She accelerates again and comes up on the other side of the car . He swerves again at her , but this time the bike pulls ahead of him . Now he 's chasing her - He gains on her as they near the end of the bridge . As they race off it , he goes in for the kill , but she veers hard to one side , leaving him headed straight for the gas station Blomkvist makes his pay phone calls from - and the tanker truck parked there - Martin hits the brakes - hydroplanes into the truck - and its , or his own tank , or both , explode - Salander circles back . Regards the fire engulfing the car . The rain does nothing to dampen it . She could probably brave it to pull Martin out - but does n't . As the flames burn his clothes , he manages to get his hands on the rifle he took from the den , turns its barrel to his bloody head - but before he can pull the trigger , she hurries over , yanks it from his grasp and stands back again . It 's much more cathartic to watch him burn .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MARTIN'S HOUSE - LATER - NIGHT</stage_direction>
    <scene_description>She finds Blomkvist in the living room . Sitting in a chair , his coat wrapped around him . The hunting knife in his hand . Distant sirens echo . He can still just barely manage to speak -</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Where is he?</dialogue>
    <character>SALANDER</character>
    <dialogue>Dead.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. HEDESTAD - DAWN</stage_direction>
    <scene_description>Reminiscent of the last photographs taken on the Hedeby Island bridge forty years ago , police and firemen finish up at the crash site . A winch drags Martin 's charred black wreck of a car onto a tow truck .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE BEDROOM - MORNING</stage_direction>
    <scene_description>Blomkvist is asleep in the bedroom with what looks like a neck tattoo - the black and blue mark left by Martin 's noose that nearly strangled him to death . He does n't hear the knock at the front door , nor -</scene_description>
    <character>SALANDER</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>It's open.</dialogue>
    <scene_description>Frode comes into the cottage looking shaken . Salander is the picture of calm , drinking a cup of black coffee .</scene_description>
    <character>FRODE</character>
    <dialogue>Where's Mikael?</dialogue>
    <character>SALANDER</character>
    <dialogue>Asleep. Coffee? There's no milk.</dialogue>
    <scene_description>Frode absently shakes his head no .</scene_description>
    <character>FRODE</character>
    <dialogue>I have some very upsetting news. Martin was killed in a car accident last night.</dialogue>
    <character>SALANDER</character>
    <dialogue>Sad.</dialogue>
    <scene_description>Frode is n't sure he heard right . Regards Salander sipping her coffee .</scene_description>
    <character>FRODE</character>
    <dialogue>What?</dialogue>
    <character>SALANDER</character>
    <dialogue>I said it's sad.</dialogue>
    <character>FRODE</character>
    <parenthetical>( pause . )</parenthetical>
    <dialogue>What do you know about this?</dialogue>
    <scene_description>She does n't say any more . Frode gets up and starts toward the bedroom -</scene_description>
    <character>FRODE</character>
    <dialogue>I have to talk to.</dialogue>
    <parenthetical>( Mikael . )</parenthetical>
    <dialogue>-</dialogue>
    <character>SALANDER</character>
    <dialogue>Let him sleep.</dialogue>
    <scene_description>It 's not a request ; it 's a command .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE - LATER - MORNING</stage_direction>
    <scene_description>Frode is ashen as he leafs through a binder Salander brought from Martin 's chamber of horrors late last night : A scrapbook of murder . A death book . Photos of women cowering in his cage , tied to the bed , dead on the table - along with souvenirs of painted fingernails and locks of hair - all carefully taped into the ` album . ' The older photographs are Polaroids ; the newer ones digital prints . With little to no discernible emotion , Salander watches Frode wince as he turns the pages . Frode ca n't take it anymore . Closes the book before reaching the end . Just sits there .</scene_description>
    <character>FRODE</character>
    <dialogue>What are we going to do?</dialogue>
    <character>SALANDER</character>
    <dialogue>We're going home, Mikael and me. I do n't know what you're going to do.</dialogue>
    <character>FRODE</character>
    <dialogue>I'm going to the police.</dialogue>
    <character>SALANDER</character>
    <dialogue>Show them the videos while you're at it.</dialogue>
    <character>FRODE</character>
    <dialogue>The -</dialogue>
    <scene_description>Salander points to a stack of video tapes .</scene_description>
    <character>SALANDER</character>
    <dialogue>Would you like to see them?</dialogue>
    <character>FRODE</character>
    <dialogue>No.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE BEDROOM - LATER - MORNING</stage_direction>
    <scene_description>Blomkvist half - wakes to find Salander lying next to him , fully - clothed , watching him . Is she actually there , or part of a dream ? He looks at her a long moment , then tries out his voice -</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>How is it someone who's 23 is a ward of the state?</dialogue>
    <character>SALANDER</character>
    <dialogue>I'm mentally incompetent and ca n't manage daily life.</dialogue>
    <scene_description>He smiles , thinking it 's joke . It is n't , he realizes .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Since when have they said that.</dialogue>
    <character>SALANDER</character>
    <dialogue>Since I was twelve.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Something happened when you were twelve?</dialogue>
    <scene_description>She does n't say . Just studies him .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>It's all right, you do n't have to tell me anything -</dialogue>
    <character>SALANDER</character>
    <dialogue>I tried to kill my father. I burned him alive. Got about 80 percent of him.</dialogue>
    <character>BLOMKVIST</character>
    <parenthetical>( pause . )</parenthetical>
    <dialogue>Oh.</dialogue>
    <scene_description>Silence . Then -</scene_description>
    <character>SALANDER</character>
    <dialogue>We need milk.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE - DAY</stage_direction>
    <scene_description>She pours milk in her coffee from the carton she just bought . Pushes over two faded Polaroid photos . He picks them up : One shows a young girl about 14 , naked from the waist up , head turned half - away from the camera . The second shows her on her stomach on a bed , completely naked , face turned to the photographer , frightened .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Harriet?</dialogue>
    <character>SALANDER</character>
    <dialogue>I think so.</dialogue>
    <scene_description>Blomkvist ca n't look at the photos long . Sets them down . Something 's troubling him -</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Martin did n't deny killing anyone. But when I mentioned Harriet, he was confused. He was angry - at me - for not being able to tell him what happened to her.</dialogue>
    <parenthetical>( pause . )</parenthetical>
    <dialogue>He did n't kill her. And his father was dead the year before.</dialogue>
    <parenthetical>( pause . )</parenthetical>
    <dialogue>What if she did somehow get away? Could she have done that? Could she have done it alone?</dialogue>
    <scene_description>He goes up to his wall of suspects .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Is she's alive, there's only one person in this family who would know where she is.</dialogue>
    <scene_description>He takes the photo of Anita down from the wall .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOSPITAL - DAY</stage_direction>
    <scene_description>Henrik sits in one of the chairs . Blomkvist in another . Salander prefers to stand . Eventually -</scene_description>
    <character>VANGER</character>
    <dialogue>Poor Martin.</dialogue>
    <scene_description>Clearly , he has n't been shown the death book , or been told the tale of Blomkvist 's night in Martin 's dungeon .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>I have to go away for a couple days. When I come back, I hope to have an answer for you.</dialogue>
    <scene_description>Such a possibility stuns the old man . He regards Blomkvist a moment . Then Salander .</scene_description>
    <character>VANGER</character>
    <dialogue>Would the young lady mind giving us a moment of privacy.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>She's my partner, Henrik. She should stay.</dialogue>
    <scene_description>A tiny , tiny , tiny smile finds its way to her face at the mention of the word ` partner . '</scene_description>
    <character>VANGER</character>
    <dialogue>What have you found?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I'm not sure.</dialogue>
    <character>VANGER</character>
    <dialogue>Do n't treat me like a child. Tell me.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I ca n't. I do n't know. I need a week.</dialogue>
    <scene_description>Vanger studies him . Then -</scene_description>
    <character>VANGER</character>
    <dialogue>I've waited forty years. I can wait another week.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. AIRLINE - IN FLIGHT - DAY</stage_direction>
    <scene_description>Blomkvist and Salander read magazines in a pair of coach seats . Across the aisle - occupying two seats - is one 300 - lb . sleeping figure : Plague .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PUB - LONDON - DUSK</stage_direction>
    <scene_description>They drink pints in an unpopular , almost - empty pub . A Cure song plays .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>I always liked this song.</dialogue>
    <parenthetical>( nothing from her or Plague . )</parenthetical>
    <dialogue>You do n't?</dialogue>
    <character>SALANDER</character>
    <dialogue>I do n't like classical music.</dialogue>
    <scene_description>A strange - looking young man comes in , regards the strange - looking trio at the table , comes over . To the fat man -</scene_description>
    <character>TRINITY</character>
    <dialogue>Plague?</dialogue>
    <character>PLAGUE</character>
    <dialogue>Trinity.</dialogue>
    <character>SALANDER</character>
    <dialogue>Wasp.</dialogue>
    <scene_description>Blomkvist starts to offer his hand before realizing no one else has or will .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Mikael.</dialogue>
    <scene_description>Trinity sits . None of these people have much experience with human interaction . They all look at Blomkvist , but he is n't sure why .</scene_description>
    <character>SALANDER</character>
    <dialogue>The money.</dialogue>
    <scene_description>Blomkvist takes an envelope from his jacket , hands it to Trinity . He begins counting it -</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. LONDON - NIGHT</stage_direction>
    <scene_description>Alone in the back of a parked van amidst electronic components he does n't understand , Blomkvist anxiously stares out a tinted window at a dark row house . Headlights flare down the street . An approaching car . He hopes it passes , but it instead pulls up to the garage - waits for the door to go up - pulls in .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Fuck me.</dialogue>
    <scene_description>He watches Anita Vanger get out of the car - the garage door come down - light go on inside the house - then dark figures hurrying along the side of the house : Trinity , Salander , and finally Plague . They climb into the van with their tools , firewires , a laptop . None speaks as they tether cables to computers in the van . Blomkvist just watches . Finally , to him -</scene_description>
    <character>SALANDER</character>
    <dialogue>It's your turn.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. ANITA'S HOUSE - LONDON - NIGHT</stage_direction>
    <scene_description>Blomkvist knocks on the door . Anita pulls it open .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>It's me. Sorry to bother you.</dialogue>
    <scene_description>She does n't invite him in , but does n't shut the door in his face either .</scene_description>
    <character>ANITA</character>
    <dialogue>What do you want?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>No one's called you?</dialogue>
    <character>ANITA</character>
    <dialogue>About.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Your cousin.</dialogue>
    <scene_description>She has two , but does n't ask which -</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Martin.</dialogue>
    <character>ANITA</character>
    <dialogue>What about him?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>He died last Thursday. A car accident. I'm sorry.</dialogue>
    <parenthetical>( nothing from her . )</parenthetical>
    <dialogue>There's going to be a memorial in Hedestad. I know you have n't been back there in a long time, but -</dialogue>
    <character>ANITA</character>
    <dialogue>I'm not interested in any memorial.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I understand.</dialogue>
    <character>ANITA</character>
    <dialogue>What do you understand?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>That you do n't really care for any of your relatives. Still, I thought you should know.</dialogue>
    <character>ANITA</character>
    <dialogue>Now I know.</dialogue>
    <scene_description>And now , she closes the door .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ANITA'S HOUSE - LONDON - NIGHT</stage_direction>
    <scene_description>Blomkvist returns to the van . Climbs in .</scene_description>
    <character>SALANDER</character>
    <dialogue>How'd it go?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Okay. I think.</dialogue>
    <scene_description>He sits and watches them monitor the phone and computer taps they installed earlier . One of the laptops , without anyone touching it , blinks on to a Google screen .</scene_description>
    <character>TRINITY</character>
    <dialogue>She's on.</dialogue>
    <scene_description>A screen name and password characters on a Gmail page type themselves . They expect her to go to `` Compose , '' but she opens one of the messages - spam - deletes it - marks a couple more and banishes them as well . The only new thing left in the inbox is an eBay alert . Clicking it takes her to an auction for a triple - strand faux - pearl Jackie O necklace : 49 pounds . The cursor clicks the Buy - It - Now button . As the screen switches to Anita 's Paypal account , Blomkvist and Salander exchange a confused glance .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOTEL ROOM - LONDON - LATER - NIGHT</stage_direction>
    <scene_description>Salander 's laptop is monitoring Anita 's computer , her hard - line phone and cell . Blomkvist emerges from the bathroom , rests a hand on Salander 's shoulder to peer over it at the screen : In one of the windows , cards are dealing themselves .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>She's playing solitaire?</dialogue>
    <parenthetical>( Salander nods . )</parenthetical>
    <dialogue>And she still has n't called anyone.</dialogue>
    <character>SALANDER</character>
    <dialogue>No.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Do we have her cell, too?</dialogue>
    <scene_description>Salander points to one of the windows on the screen . His hand comes off her shoulder .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>I was so she'd lead us to her.</dialogue>
    <character>SALANDER</character>
    <dialogue>Put your hand back on my shoulder.</dialogue>
    <scene_description>He does . They watch the solitaire game together .</scene_description>
    <character>SALANDER</character>
    <dialogue>There's only one reason she would n't call Harriet. She ca n't because Harriet is indeed dead.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. HOTEL ROOM - LONDON - LATER - NIGHT</stage_direction>
    <scene_description>It 's strange perhaps , but he does some of his best thinking during sex -</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>I was just thinking. What if -</dialogue>
    <character>SALANDER</character>
    <dialogue>Ten more seconds.</dialogue>
    <scene_description>That 's fair . She finishes . They lie there . Then -</scene_description>
    <character>SALANDER</character>
    <dialogue>Okay, what.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I was just thinking, there could be one other possibility.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. INVESTMENT BANK - LONDON - DAY</stage_direction>
    <scene_description>Blomkvist taps on Anita 's open office door .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>May I?</dialogue>
    <character>ANITA</character>
    <dialogue>What is it now.</dialogue>
    <scene_description>He comes in and sits .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>I want to show you something.</dialogue>
    <scene_description>He tugs his shirt collar low enough to reveal the black and blue `` tattoo '' around his neck . Anita is taken aback by the sight . It 's hard to imagine how anyone would end up with a mark like that .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Before he died, your brother hung me from a hook. Harriet.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. PARK - LONDON - DAY</stage_direction>
    <scene_description>They sit together on a park bench .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Anita married in Stockholm in 1967. It's recorded in the Swedish General Register. But the family never knew, did they.</dialogue>
    <parenthetical>( she confirms that with a shake of her head . )</parenthetical>
    <dialogue>I'm guessing she then came here on a passport in her married name, and you followed on her maiden name passport.</dialogue>
    <character>HARRIET</character>
    <dialogue>Actually, it was the other way around. She thought it safer for me to travel with Spencer myself.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>What did he think about that?</dialogue>
    <character>HARRIET</character>
    <dialogue>Nothing. Only that he loved her. She said, If you love me, you'll do this and not ask why. He never did.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>They both died twenty years ago.</dialogue>
    <character>HARRIET</character>
    <dialogue>A car accident. You found that, too.</dialogue>
    <scene_description>Blomkvist nods , reaches for something in his jacket pocket - changes his mind - changes it again and pulls it out .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Is this you?</dialogue>
    <scene_description>He hands her the less graphic of the two Polaroids Salander found in Martin 's basement - the young girl , face turned half - away from the camera .</scene_description>
    <character>HARRIET</character>
    <dialogue>I was 14 the first time he raped me.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Martin.</dialogue>
    <character>HARRIET</character>
    <dialogue>No, my father. He took this picture. Martin did n't start until he died.</dialogue>
    <scene_description>Blomkvist ca n't hide his horror even after all he 's seen .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Why did n't you tell someone?</dialogue>
    <character>HARRIET</character>
    <dialogue>I did. My mother.</dialogue>
    <scene_description>Blomkvist stares . Finally -</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Henrik would have done something.</dialogue>
    <character>HARRIET</character>
    <dialogue>Would he? I do n't know. I almost told him. But I was afraid because of what I did.</dialogue>
    <parenthetical>( pause . )</parenthetical>
    <dialogue>You still do n't understand?</dialogue>
    <scene_description>He does n't . She studies him , and perhaps sees in him what Salander did long ago - that he can be trusted .</scene_description>
    <character>HARRIET</character>
    <dialogue>A year after the first time - after many times during that year - my father got drunker than usual one night and started bragging about women he'd killed. He quoted from the Bible as he tore off my clothes. He wrapped a belt around my neck. He wanted to kill me.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. GOTTFRIED'S CABIN - NIGHT - 1965</stage_direction>
    <scene_description>Harriet makes it out of the cabin in torn clothing , trying to get the belt around her neck off . Her father can heard inside ranting something from the Bible .</scene_description>
    <character>HARRIET</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>I made it out of the house and down to the dock. He came staggering after me -</dialogue>
    <scene_description>Gottfried emerges from the cabin and stumbles down the hill in pursuit of his almost - naked daughter .</scene_description>
    <character>HARRIET</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>I could never fight him off in a small room, but I was strong enough out in the open to deal with an old drunk.</dialogue>
    <scene_description>As he comes onto the dock , she waits for the moment , and smashes him in the head with the flat side of an oar . It stuns and sends him toppling off the dock into the water . He surfaces , reaches for the dock planks . As he takes hold of them to claw himself from the water , she brings the sharp edge of the oar down , burying it in his head like an axe . He stares up her , uncomprehending . His fingers slide away from the dock . His body goes limp and sinks out of sight beneath the water .</scene_description>
    <character>HARRIET</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>When it was finally over I looked up, and Martin was standing there -</dialogue>
    <scene_description>She sees her brother up by the cabin looking down at her .</scene_description>
    <character>HARRIET</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>With a little smile.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. PARK - LONDON - DAY</stage_direction>
    <character>HARRIET</character>
    <dialogue>He dragged me back to the cabin. All I'd accomplished was substitute one rapist for another.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. HEDESTAD - DAY - 1966</stage_direction>
    <scene_description>Young Harriet and her school friends walk along the town 's main street past crowds lining it , and we realize we 're seeing what we 've only seen in still photographs .</scene_description>
    <character>HARRIET</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>A couple months later, Henrik sent him off to school in Uppsala. And I thought maybe - maybe - the nightmare was over. Until that day.</dialogue>
    <scene_description>The float with the harem girls comes past , and we watch the smile on young Harriet 's face change to fear as she notices something off to the left .</scene_description>
    <character>HARRIET</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>There he was - across the street - looking at me with that same little smile on his face.</dialogue>
    <scene_description>A clear shot of young Martin in his Uppsala blazer , standing by the corner , smiling at her .</scene_description>
    <character>HARRIET</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>It was n't over.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. PARK - LONDON - CONTINUED</stage_direction>
    <character>BLOMKVIST</character>
    <dialogue>How'd you get away? Anita?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. VANGER MANOR - DAY - 1966</stage_direction>
    <scene_description>Anita , framed in the bedroom window - like in the photograph - looks out at the activity on the bridge . Behind her , Harriet packs a few items of clothing .</scene_description>
    <character>ANITA</character>
    <dialogue>Do n't take anything.</dialogue>
    <scene_description>Harriet puts the clothes back . Picks up her purse .</scene_description>
    <character>ANITA</character>
    <dialogue>Leave that, too.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. VANGER MANOR - NIGHT - 1966</stage_direction>
    <scene_description>The dinner that night . Vanger noticing Harriet 's empty chair . And Anita saying nothing , taking a bite of food .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HEDEBY ISLAND - DAY - 1966</stage_direction>
    <scene_description>The searchers scouring the island . The boats moving along the shoreline . The crane lifting the truck from the bridge . Anita climbs into her car outside her father Harald 's house . Drives down the road toward the bridge .</scene_description>
    <character>ANITA</character>
    <dialogue>Stay absolutely still.</dialogue>
    <scene_description>The blanket covering Harriet on the backseat floorboard moves slightly , then is still . A policeman on the island side of the bridge waves the car across it . As it heads along the mainland service road toward the highway -</scene_description>
    <character>HARRIET</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>She saved me.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. PARK - LONDON - DAY</stage_direction>
    <scene_description>Silence . Then she gestures to Blomkvist 's neck .</scene_description>
    <character>HARRIET</character>
    <dialogue>How did you get away?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Someone saved me, too.</dialogue>
    <scene_description>He gestures off to the thin , strange girl sitting on another park bench too far away to hear them . Harriet does something she has n't done since they met : smile .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. VANGER MANOR - DAY - ESTABLISH</stage_direction>
  </scene>
  <scene>
    <stage_direction>INT. VANGER MANOR - DAY</stage_direction>
    <scene_description>Blomkvist , Salander and Frode wait in Vanger 's study . A tea service tray sits there untouched like the first time Blomkvist came here . Anna pushes a wheelchair into the room with Vanger in it . There 's a file on his lap .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>How are you feeling?</dialogue>
    <character>VANGER</character>
    <dialogue>I'm fine. Thank you, Anna.</dialogue>
    <scene_description>Anna leaves . Closes the doors . Before Blomkvist can say anything else -</scene_description>
    <character>VANGER</character>
    <dialogue>I made you a promise. Whether you found out anything or not.</dialogue>
    <scene_description>He holds out the file . Blomkvist takes it and sees : INSERT : Wennerstorm 's name typed on it , and a fairly recent photo of him clipped to it .</scene_description>
    <character>VANGER</character>
    <dialogue>Now. What do you have to tell me.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. VANGER MANOR - DAY</stage_direction>
    <scene_description>A car pulls up the drive . Parks . The back door opens . Harriet climbs out . Looks at the manor . Then walks toward the front door -</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. VANGER MANOR - MOMENTS LATER</stage_direction>
    <scene_description>Vanger propels his wheelchair down the main hall , but stops when he sees Harriet coming in the front door with Anna . He stares , trying to reconcile how she looks now compared to when he last saw her , or maybe to convince himself she 's really alive . She sees him .</scene_description>
    <character>HARRIET</character>
    <dialogue>Hi, Henrik.</dialogue>
    <scene_description>He begins to weep . She walks to him and places a hand on his hunched shaking shoulders . Frode , Blomkvist and Salander watch . One of them is n't particularly moved .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. COTTAGE - LATER - DAY</stage_direction>
    <scene_description>As Frode leafs through the file that Blomkvist has already read -</scene_description>
    <character>FRODE</character>
    <dialogue>I do n't even remember Wennerstrom working here, much less being fired.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Why would you. It was a long time ago. Which is more to the point than the money he embezzled.</dialogue>
    <character>FRODE</character>
    <dialogue>I do n't think I'm seeing the point.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Yes, you are.</dialogue>
    <character>FRODE</character>
    <parenthetical>( another look at the paperwork . )</parenthetical>
    <dialogue>It happened in the 1970's.</dialogue>
    <scene_description>Salander watches the two men from across the room .</scene_description>
    <character>FRODE</character>
    <parenthetical>( ADR . )</parenthetical>
    <parenthetical>( regarding the documents . )</parenthetical>
    <dialogue>I swear I did n't know this was what Henrik had on him. If I had, I never would have let him bring you up here. But he was n't trying to deceive you.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Come on, he knows you ca n't try somebody for this 35 years later. I like Henrik, but he knows that.</dialogue>
    <scene_description>Frode disagrees -</scene_description>
    <character>FRODE</character>
    <dialogue>A man's reputation used to mean something - he still believes that. I'm sure he thought you could destroy Wennerstrom with this in the court of public opinion.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>The `` court of public opinion,'' Dirch, makes celebrities out of girls who shop. Henrik promised me Wennerstrom's carcass on a plate. This is n't even the plate. I ca n't do anything with this.</dialogue>
    <character>FRODE</character>
    <dialogue>Of course you're right.</dialogue>
    <parenthetical>( pause . )</parenthetical>
    <dialogue>I'm sorry.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. VANGER MANOR - LATER - DAY</stage_direction>
    <scene_description>Blomkvist and Salander sit out by the water , sharing the last cigarette in his pack . Her arm is draped over his shoulder , which strikes him as the most tender of gestures , coming from her .</scene_description>
    <character>SALANDER</character>
    <dialogue>Fuck these people.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Yeah.</dialogue>
    <character>SALANDER</character>
    <dialogue>Harriet most of all.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Excuse me?</dialogue>
    <character>SALANDER</character>
    <dialogue>If she'd done anything but run, Martin would n't have been able to kill all those women.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>She had no idea he was doing it.</dialogue>
    <character>SALANDER</character>
    <dialogue>She should have killed her father and him.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>That's what you would've done. Not everyone's you.</dialogue>
    <scene_description>She 's not sure she likes the comment . Decides she does n't . Takes her arm away from his shoulder .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>That was meant to be a compliment. Put your arm back on my shoulder.</dialogue>
    <scene_description>She does n't . So he drapes his on hers . Then -</scene_description>
    <character>SALANDER</character>
    <dialogue>What happened with Wennerstrom. How did he get you?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I was stupid. I got something from an anonymous source, who I'm sure now worked for him. It was fake. Which he easily proved in court.</dialogue>
    <scene_description>Not a good day , that . Then -</scene_description>
    <character>SALANDER</character>
    <dialogue>You were emphatic that the way I looked into your life was illegal and immoral. Would you feel the same about Wennerstrom?</dialogue>
    <scene_description>He regards her , uncertain what she means .</scene_description>
    <character>SALANDER</character>
    <dialogue>I started investigating him on my own. Then you showed up and hired me. I have n't had a chance to look at it all - you and Harriet - fucking - Vanger have kept me busy. but I may have something.</dialogue>
    <character>BLOMKVIST</character>
    <parenthetical>( pause . )</parenthetical>
    <dialogue>On Wennerstrom.</dialogue>
    <scene_description>She nods . Then rests her head on his shoulder .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BLOMKVIST'S APARTMENT - MORNING</stage_direction>
    <scene_description>A new family tree on a wall here , more complicated than the Vanger 's : The Wennerstrom Group , made up of dozens of companies in cities worldwide . As Erika looks at it -</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Wennerstrom's Swedish assets are genuine, but they're the only things that are. The rest is funneled through companies in Gibraltar, Colombia, and Macao. These companies produce no products and provide no services. They're shells. They launder money from arms and drug sales, and crime syndicates in Russia. And that money - which accounts for all but 5 - percent of his holdings - ends up in accounts in the Cayman Islands. It's a completely illegal, criminal empire.</dialogue>
    <character>ERIKA</character>
    <dialogue>How do you know this?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>This time you do n't want to know.</dialogue>
    <character>ERIKA</character>
    <dialogue>This time I do want to know.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I have access to his computer, and his accountants' and lawyers'.</dialogue>
    <scene_description>She is n't happy to hear that explanation .</scene_description>
    <character>ERIKA</character>
    <dialogue>And how do you have that?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I could have gotten it from a source inside the company.</dialogue>
    <character>ERIKA</character>
    <dialogue>But you did n't.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>But that's what you'll say.</dialogue>
    <character>ERIKA</character>
    <dialogue>But what will you say to me?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>That depends on if you really want to know.</dialogue>
    <character>ERIKA</character>
    <dialogue>I do. Who gave you access?</dialogue>
    <scene_description>What looks like 16 - year - old tattooed runaway lets herself in with her own key . Crosses past Erika with a paper bag , takes out two bagel sandwiches , the same kind Blomkvist brought when he barged into her apartment . As she puts some water on for coffee , Erika looks at Blomkvist . He nods . Yeah . Her .</scene_description>
    <character>ANNOUNCER</character>
    <dialogue>Journalist Mikael Blomkvist - who this time last year was convicted of libel in a Stockholm courtroom - does n't seem to have learned from that experience. Or maybe he has -</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BLOMKVIST'S APARTMENT - NIGHT</stage_direction>
    <scene_description>The report continues on a TV in Blomkvist 's bedroom -</scene_description>
    <character>ANNOUNCER</character>
    <dialogue>In the current issue of Millennium magazine, he now charges the same company that successfully sued him - The Wennerstrom Group - of criminal activities on a global scale - backing it up with internal financial reports, bank records and emails - annotations almost as long as the article itself.</dialogue>
    <scene_description>The cover of the magazine features a head shot of Wennerstrom , and , rare for the magazine , a tabloid - style title : GANGLAND . Salander leafs through the article as Blomkvist brushes his teeth in the bathroom .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>He'll call it a personal vendetta but it wo n't work. FI ca n't ignore banking and securities fraud like this. The police ca n't ignore the organized crime stuff. They'll both have to investigate.</dialogue>
    <character>SALANDER</character>
    <dialogue>Then.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>We'll be back in court, but this time it'll cost him. That's probably it, though. These guys never to prison.</dialogue>
    <scene_description>Salander nods , but it 's not really in agreement . Or maybe it is . In any case , she 's not as enthused about all this as he is .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>What's wrong.</dialogue>
    <character>SALANDER</character>
    <dialogue>It's embarrassing.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>What.</dialogue>
    <character>SALANDER</character>
    <dialogue>I need to borrow some money.</dialogue>
    <scene_description>Blomkvist grins and reaches for his wallet .</scene_description>
    <character>SALANDER</character>
    <dialogue>50,000.</dialogue>
    <scene_description>His grin stays stitched to his face a moment , then unravels . He puts his wallet away .</scene_description>
    <character>SALANDER</character>
    <dialogue>I have a chance to make an investment. It's a smart, safe investment.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>I do n't know that I have that much.</dialogue>
    <character>SALANDER</character>
    <dialogue>You do. I'm sorry that I know that. You have 65 thousand in your two accounts.</dialogue>
    <scene_description>He 's no longer shocked or dismayed by her knowing more about his personal affairs than he does .</scene_description>
    <character>SALANDER</character>
    <dialogue>You'll get the money back. I promise.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. SALANDER'S APARTMENT - DAY</stage_direction>
    <scene_description>Several pages torn from pages of fashion magazines : Models - all of them blonde - their beautiful faces - designer clothes - accessories - make - up tips . Applying makeup to the wasp tattoo on her neck and the `` handcuffs '' on her wrists , Salander pays no attention to the TV showing Wennerstrom under an umbrella , interviewed outside the building that bears his name -</scene_description>
    <character>WENNERSTROM</character>
    <dialogue>These allegations - like the last ones from this so - called journalist - are as ridiculous as they are untrue -</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT/INT. CLOTHING STORE - STOCKHOLM - DAY</stage_direction>
    <scene_description>Salander purchases with cash expensive designer clothes she normally would n't be caught dead in .</scene_description>
    <character>WENNERSTROM</character>
    <dialogue>I'll be seeing Mr. Blomkvist in court again. I'm looking forward to it.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT/INT. LUGGAGE SHOP - STOCKHOLM - DAY</stage_direction>
    <scene_description>Here she 's buying a high - end carry - on valise and portfolio briefcase .</scene_description>
    <character>REPORTER</character>
    <dialogue>What about his documentation?</dialogue>
    <character>WENNERSTROM</character>
    <dialogue>Fabricated. All of it.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT/INT. WIG SHOP - STOCKHOLM - DAY</stage_direction>
    <scene_description>Good wigs cost money - like the shoulder - length blonde one atop a black Lucite head Salander is purchasing .</scene_description>
    <character>ANNOUNCER</character>
    <dialogue>The Securities Fraud Office is n't quite as certain as Mr. Wennerstrom of that.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT/INT. SHOP - STOCKHOLM - DAY</stage_direction>
    <scene_description>A place that caters to transvestites who , among other things , require as Salander does , latex breasts .</scene_description>
    <character>FSA OFFICIAL</character>
    <dialogue>If even a fraction of what Mr. Blomkvist is alleging proves to be true, not only will there be a securities investigation, but an organized crime inquiry as well.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT/INT. SALANDER'S APARTMENT - DAY</stage_direction>
    <scene_description>Wearing the wig and a designer outfit she takes her own passport photo against a wall . She looks like Erika .</scene_description>
    <character>REPORTER</character>
    <dialogue>Mr. Blomkvist names no sources.</dialogue>
    <character>FSA OFFICIAL</character>
    <dialogue>And we ca n't force him to. But we can look for them.</dialogue>
    <character>REPORTER</character>
    <dialogue>Beginning where?</dialogue>
    <character>FSA OFFICIAL</character>
    <dialogue>Beginning with those closest to Mr. Wennerstrom. Only someone in the inner circle of a corporation like this could have access to this kind of information.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. PLAGUE'S APARTMENT - NIGHT</stage_direction>
    <scene_description>Not wearing the wig now , she inspects a passport Plague has acquired for her featuring the crown of Norway , and some credit cards . On his TV , a pack of lawyers stand where Wennerstrom was standing before - outside the Group 's corporate offices - under , as usual , umbrellas -</scene_description>
    <character>LAWYER</character>
    <dialogue>Mr. Wennerstrom is n't available for comment today, but as his legal counsel, I'd be happy to answer your questions.</dialogue>
    <character>REPORTER</character>
    <dialogue>Where is he?</dialogue>
    <character>LAWYER</character>
    <dialogue>At home, I imagine.</dialogue>
    <character>REPORTER</character>
    <dialogue>He is n't. Has he left the country?</dialogue>
    <character>LAWYER</character>
    <dialogue>I do n't think so.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. ZURICH - DAY</stage_direction>
    <scene_description>A plane touches down on a Zurich Airport runway .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ZURICH AIRPORT - DAY</stage_direction>
    <scene_description>A customs official , satisfied with `` Irene Nesser 's '' Norwegian passport - not to mention her blonde hair and bustline - stamps a page .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ZURICH - DAY</stage_direction>
    <scene_description>Bellmen outside the 5 - Star Zimmerstahl Hotel attend to the luggage of wealthy guests emerging from nice cars .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ZIMMERSTAL HOTEL - ZURICH - DAY</stage_direction>
    <scene_description>As a desk clerk photocopies Ms. Nesser 's passport , she neither hides from nor plays to the security camera .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SUITE - ZIMMERSTAHL - EVENING</stage_direction>
    <scene_description>Salander emerges from the bathroom without the wig on . Crosses through the suite in her underwear . Oddly - or perhaps not - she 's also wearing a pair of white gloves . She opens the balcony 's doors to let in some air . On the TV :</scene_description>
    <character>ANNOUNCER</character>
    <dialogue>With his failure to appear before a Security Exchange Commission panel, a warrant has been issued for The Wennerstrom Group CEO.</dialogue>
    <scene_description>An immigration official appears before the news cameras -</scene_description>
    <character>IMMIGRATION OFFICIAL</character>
    <dialogue>I can confirm that he left Sweden on a private jet that landed in Paris last week, but whether he's still there, we do n't know. He could be anywhere by now.</dialogue>
    <scene_description>She sips at her room service coffee .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT.   ZURICH - DAY</stage_direction>
    <scene_description>`` Irene Nesser '' enters Bank Hausen General under watchful security cameras .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BANK HAUSEN GENERAL - ZURICH - DAY</stage_direction>
    <scene_description>Security cameras inside watch her and a banker at a desk in an area reserved for discreet transactions .</scene_description>
    <character>SALANDER</character>
    <dialogue>I have a number of accounts at Bank of Kroenfeld, Cayman Islands. I want to transfer those funds and convert them to bonds.</dialogue>
    <scene_description>As she writes an account number on a slip of paper from memory , Herr Wagner notices - as she intends - the pen she 's using - from the venerable Zimmerstal Hotel .</scene_description>
    <character>WAGNER</character>
    <dialogue>Naturally, you have the clearing codes.</dialogue>
    <character>SALANDER</character>
    <dialogue>Naturally.</dialogue>
    <character>WAGNER</character>
    <dialogue>How many accounts will you be transferring?</dialogue>
    <character>SALANDER</character>
    <dialogue>Thirty.</dialogue>
    <scene_description>He glances at his watch , perhaps thinking about lunch . His faux - politeness - even his appearance - reminds her of Bjurman .</scene_description>
    <character>WAGNER</character>
    <dialogue>This will take some time.</dialogue>
    <character>SALANDER</character>
    <dialogue>For which you'll receive a 4 - percent commission.</dialogue>
    <character>WAGNER</character>
    <dialogue>I will.</dialogue>
    <character>SALANDER</character>
    <dialogue>Then it wo n't be a waste of it.</dialogue>
    <scene_description>She offers him the Zimmerstal pen .</scene_description>
    <character>WAGNER</character>
    <dialogue>Thank you, I have one.</dialogue>
    <scene_description>He picks up one of his cheap pens . She hands him a long list of account numbers and clearing codes -</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SUITE - ZIMMERSTAL HOTEL - ZURICH - DAY</stage_direction>
    <scene_description>As she sorts through a stack of bonds , the TV shows a reporter in a colorful town square .</scene_description>
    <character>REPORTER</character>
    <dialogue>A Swedish tourist vacationing here in Barbados says he knows where fugitive financier Hans - Erik Wennerstrom is : Here in this Caribbean island's capital, Bridgetown. Police released this photograph, taken yesterday by the tourist, Jens Assur -</dialogue>
    <scene_description>A snapshot of Wennerstrom , or someone who looks like him - tropical shirt , hat and sunglasses - climbing into a car .</scene_description>
    <character>REPORTER</character>
    <dialogue>- and say they believe it is the disgraced billionaire.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BANK DORFMANN - ZURICH - DAY</stage_direction>
    <scene_description>Sitting with a different bank manager now as security cameras keep silent watch , she opens her portfolio and turns it so he can see its contents . He glances up with a polite smile that 's supposed to mask his surprise .</scene_description>
    <character>HASSELMAN</character>
    <dialogue>How many of these would you like to convert for deposit?</dialogue>
    <character>SALANDER</character>
    <dialogue>All fifty. Into five accounts.</dialogue>
    <scene_description>He works out the conversion to CHF and hands her the calculator : A `` 2 '' followed by more digits than we can count .</scene_description>
    <character>SALANDER</character>
    <dialogue>That looks correct.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. SUITE - ZIMMERSTAL HOTEL - EVENING</stage_direction>
    <scene_description>The remnants of a McDonald 's kids meal on the desk with the wig and white gloves . She bypasses the hotel 's internet service , uplinks her MacBook through her cell . Five accounts - the ones she just established at Bank Dorfrmann - appear on the screen . She transfers all the funds into one account at Bank Kroenfeld , Cayman Islands , belonging to a Gibraltar company .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ZURICH AIRPORT - DAY - ESTABLISHING</stage_direction>
  </scene>
  <scene>
    <stage_direction>INT. LADIES ROOM - ZURICH AIRPORT - DAY</stage_direction>
    <scene_description>Irene cuts up credit cards , flushes them down a toilet .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ZURICH AIRPORT - DAY</stage_direction>
    <scene_description>Drops the scissors in a trash bin on her way to security .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. OSLO AIRPORT - DAY</stage_direction>
    <scene_description>Irene disembarks with the other Zurich flight passengers .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LADIES ROOM - OSLO AIRPORT - DAY</stage_direction>
    <scene_description>Irene 's earrings disappear down a sink drain . Necklace falls to the bottom of a paper towel bin .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. OSLO TRAIN STATION - DAY</stage_direction>
    <scene_description>Irene/Salander puts her empty portfolio in an unlocked locker , wipes the prints from it , heads for the platform .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TRAIN - MOVING - EVENING</stage_direction>
    <scene_description>She has a private sleeping berth , but is n't sleeping . She 's smoking a cigarette next to a No - Smoking decal on the window that 's cracked open , and tosses the Zimmerstal Hotel pen out to the darkening countryside rushing past .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SALANDER'S APARTMENT - STOCKHOLM - NIGHT</stage_direction>
    <scene_description>Salander - looking like Salander - enters her apartment with only her laptop bag . Holds Irene 's passport over a stove flame . Sets the burning document on a plate . Takes a Coke from her fridge , sits with it . Puts the cold can to her forehead like a compress . Then opens it , drinks , and closes her eyes .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SALANDER'S APARTMENT - STOCKHOLM - NIGHT</stage_direction>
    <scene_description>A dark figure is looking up at her apartment , at television light playing on a window . As he walks off into the night , we see it 's Bjurman .</scene_description>
    <character>ZURICH REPORTER</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>The man who is now being called Sweden's Pablo Escobar, may not have a country to call home, but does have enough money to buy one.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. ZURICH - DAY</stage_direction>
    <scene_description>The reporter stands under an umbrella on the same street Salander crossed to get from one hotel to the other .</scene_description>
    <character>ZURICH REPORTER</character>
    <dialogue>According to the International Banking Commission, Wennerstrom, just days after the Millennium article that brought him down appeared on news stands, began emptying accounts at Bank of Kroenfeld in the Cayman Islands.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. MILLENNIUM'S OFFICES - EVENING</stage_direction>
    <scene_description>The place is trimmed with Christmas decorations again . In a glassed - in conference room , Blomkvist , Erika , and a few others sit around the table , their production meeting interrupted by the news on the plasma TV here :</scene_description>
    <character>ZURICH REPORTER ON TV</character>
    <dialogue>That money, approximately two billion Euros, was then spread over a number of accounts with the help of this confederate, seen here in Zurich -</dialogue>
    <scene_description>Security camera images of `` Irene Nesser , '' entering and leaving banks .</scene_description>
    <character>ZURICH REPORTER ON TV</character>
    <dialogue>- who converted the funds into private bonds, which, I'm told, are even harder to trace than Wennerstrom himself. Europol has launched a search for the woman who had used a stolen Norwegian passport. Her whereabouts, like her boss's, are unknown.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. STOCKHOLM - EVENING - SAME TIME</stage_direction>
    <scene_description>Her whereabouts are here , roaring through Stockholm on her Honda like the first time we saw her .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MILLENNIUM'S OFFICES - EVENING</stage_direction>
    <scene_description>Blomkvist hears a motorcycle and glances out the window to see Salander pulling up outside .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. MILLENNIUM'S OFFICES - EVENING</stage_direction>
    <scene_description>He comes out , meets her at her motorcycle . She takes a cashier 's check from her jacket pocket .</scene_description>
    <character>SALANDER</character>
    <dialogue>The money I borrowed.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Already.</dialogue>
    <scene_description>She nods .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>Thank you.</dialogue>
    <character>SALANDER</character>
    <dialogue>Thank you.</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Good investment?</dialogue>
    <character>SALANDER</character>
    <dialogue>It was okay.</dialogue>
    <scene_description>He nods . She nods .</scene_description>
    <character>SALANDER</character>
    <dialogue>What are you doing later?</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Seeing my daughter.</dialogue>
    <character>SALANDER</character>
    <dialogue>Okay.</dialogue>
    <scene_description>She nods . He nods .</scene_description>
    <character>BLOMKVIST</character>
    <dialogue>You look nice.</dialogue>
    <character>SALANDER</character>
    <dialogue>Thanks.</dialogue>
    <scene_description>He nods . She nods . Erika regards them from inside the conference room . Salander climbs back on her motorcycle .</scene_description>
    <character>SALANDER</character>
    <dialogue>Christmas again. see you soon.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. PALMGREN'S APARTMENT - DAY - ESTABLISHING</stage_direction>
  </scene>
  <scene>
    <stage_direction>INT. PALMGREN'S APARTMENT - DAY</stage_direction>
    <scene_description>While the nurse fills a plastic days - of - the - week container with a concoction of pills , Salander sits with her Palmgren by the untouched chess table .</scene_description>
    <character>SALANDER</character>
    <dialogue>Can you hear me?</dialogue>
    <parenthetical>( no indication that he can . )</parenthetical>
    <dialogue>I miss our meetings.</dialogue>
    <parenthetical>( pause . )</parenthetical>
    <dialogue>I'm sure you do n't. Why would you? I was always such a headache for you. Never showing up with good news. Only problems.</dialogue>
    <parenthetical>( pause . )</parenthetical>
    <dialogue>I have some good news now. I've made a friend. I mean one that you'd approve of.</dialogue>
    <parenthetical>( pause . )</parenthetical>
    <dialogue>I'm happy.</dialogue>
    <scene_description>One of Palmgren 's hands manages to pull slightly away from the other , tries to reach for her , perhaps , but only makes it about an inch . She reaches over and holds it .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SPAIN - DAY</stage_direction>
    <scene_description>A reporter bundled - up outside a low - rent building cordoned off with police tape -</scene_description>
    <character>REPORTER</character>
    <dialogue>Behind the walls of this dingy rooming house behind me lies a body in a pool of blood - A man who has been living here the last three weeks under the name Victor Fleming -</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. CAFE - STOCKHOLM - DAY</stage_direction>
    <scene_description>The same cafe Blomkvist retreated to after his libel conviction .</scene_description>
    <character>REPORTER</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>A man who police in Marbella, Spain, have confirmed is fugitive Hans - Erik Wennerstrom -</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CAFE - STOCKHOLM - DAY</stage_direction>
    <scene_description>Blomkvist is at the counter , across from a barista , but his attention is on the TV -</scene_description>
    <character>REPORTER ON TV</character>
    <dialogue>- shot three times in the head at close range in what is being called a classic gangland execution.</dialogue>
    <character>BARISTA</character>
    <dialogue>What would you like?</dialogue>
    <scene_description>Blomkvist glances blankly at the barista , then back to the TV -</scene_description>
    <character>REPORTER ON TV</character>
    <dialogue>The investigation into Wennerstrom's ties to crime organizations worldwide will now turn to speculation : Which of them caught up with him before Swedish authorities could?</dialogue>
    <character>BARISTA</character>
    <dialogue>Sir?</dialogue>
    <character>REPORTER ON TV</character>
    <dialogue>Wennerstrom spent the last days of his flamboyant life in solitude and anonymity, locked behind the door of Room 3A -</dialogue>
    <character>BLOMKVIST</character>
    <dialogue>Coffee and a sandwich. that one.</dialogue>
    <character>REPORTER ON TV</character>
    <dialogue>Indeed, after checking in, he was never seen again - until this morning when the building manager came calling to collect the unpaid bill -</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. TAILOR SHOP - STOCKHOLM - DAY</stage_direction>
    <scene_description>A tailor brings out a garment bag bearing his exclusive insignia , drapes it across a table , returns to Salander the photograph she provided him with last week : It 's of a much younger Blomkvist - at about Salander 's age now - wearing the black leather jacket he loved and lost track of years ago . The tailor unzips the bag revealing an exact - though considerably more expensive - replica of the jacket .</scene_description>
    <character>SALANDER</character>
    <dialogue>It's perfect.</dialogue>
    <character>TAILOR</character>
    <dialogue>Your father?</dialogue>
    <character>SALANDER</character>
    <dialogue>A friend.</dialogue>
    <character>TAILOR</character>
    <dialogue>Must be a very good friend.</dialogue>
    <parenthetical>( she nods . )</parenthetical>
    <dialogue>He's lucky.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. SALANDER'S APARTMENT - DUSK</stage_direction>
    <scene_description>A perfect Christmas card vista that actually turns out to be a Christmas card : A snowy rural landscape scene . It 's stupid , but she 's writing under the pre - printed `` Merry Christmas '' inside , a personal note that 's more sincere than she thought herself capable . She blows on the ink , puts the card in its envelope , neatly writes `` Mikael '' on it , gets up -</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STOCKHOLM - EVENING</stage_direction>
    <scene_description>Snow 's falling , but unlike the brutal winter storms last year , it 's just heavy enough to dust the city in white powder that reflects the Christmas lights in the trees . The beauty of her city pleases Salander as she rides through it on her motorcycle . Or maybe it 's something she 's feeling as she turns onto Blomkvist 's street . She parks . Gathers the garment bag and card , walks under construction scaffolding toward his apartment building . From around the corner ahead , Blomkvist and Erika appear . He says something and she laughs , puts her arm around his waist and lays her head against his neck scarf . Salander stops mid - stride , ducks into an alcove under the scaffolding , waits as long as it should take them to get inside the building , then peers out again - They 're not inside . They 've stopped just outside the building 's entrance . They 're embracing . And the longer they stand there together , the sharper the pain stabs at Salander . Finally they separate , but only to allow Blomkvist to unlock the door . Erika takes his hand then , and they disappear inside . Salander ca n't move . Waits for the pain to subside - which it eventually does - but only to be replaced with a sense of helplessness . Then that subsides , replaced with a facade of insouciance . The richest girl in Sweden emerges from the alcove and walks back the way she came - tossing the garment bag and card into a construction dumpster - climbs onto her Honda - starts it - and drives off - Probably forever .</scene_description>
  </scene>
</script>

Summary: In Stockholm, disgraced journalist Mikael Blomkvist is recovering from the legal and professional fallout of a libel suit brought against him by businessman Hans-Erik Wennerström, straining Blomkvist's relationship with his business partner and lover, Erika Berger. Lisbeth Salander, a brilliant but antisocial investigator and hacker, compiles an extensive background check on Blomkvist for the wealthy Henrik Vanger, who offers Blomkvist evidence against Wennerström in exchange for an unusual task: investigate the 40-year-old disappearance and presumed murder of Henrik's grandniece, Harriet. Blomkvist agrees, and moves into a cottage on the Vanger family estate on Hedestad Island. Salander's state-appointed guardian, Holger Palmgren, suffers a stroke, and is replaced by Nils Bjurman, a sadist who controls Salander's finances and extorts sexual favors by threatening to have her institutionalized. Unaware she is secretly recording one of their meetings, Bjurman brutally rapes her. At their next meeting, Salander tasers Bjurman, binds him to his bed, anally rapes him with a metallic dildo, and tattoos "I'm a rapist pig" across his torso. Using the secret recording she'd made, she blackmails him into securing her independence and having no further contact with her. Blomkvist explores the island and interviews various Vanger family members. He uncovers a list of names and numbers that his visiting daughter, Pernilla, notices are Bible verse references. Blomkvist discovers that Salander had researched him illegally, but rather than report it, he hires her as his research assistant. She uncovers a connection between the list and numerous young women brutally murdered from 1947 to 1967, indicating a serial killer. One morning, Blomkvist finds the mutilated corpse of his adopted cat on the doorstep. Another night, while walking outdoors, a bullet grazes his forehead; after Salander tends his wounds, they have sex. Blomkvist begins to suspect Martin, Harriet's brother and operational head of the Vanger empire. Salander uncovers evidence that Martin and Harriet's late father, Gottfried, and later Martin, committed the murders. Blomkvist breaks into Martin's house to obtain more proof, but Martin arrives and catches him. He forces Blomkvist into his specially prepared basement, placing him in restraints. Martin brags about killing women for decades, but denies murdering Harriet. As Martin is about to kill Blomkvist, Salander arrives, attacking Martin and forcing him to flee in his SUV. Salander, on her motor bike, pursues Martin until he runs off the road and is killed. Salander nurses Blomkvist back to health and tells him that, as a child, she was institutionalized after attempting to burn her father alive. They deduce that Harriet is alive and in hiding; traveling to London, they confront Harriet's cousin, Anita, only to discover that she is Harriet. Harriet reveals that her father and brother sexually abused her for years, and that Martin witnessed her killing their father in self-defense. Her cousin, Anita, smuggled her off the island and let Harriet assume her identity in London, though Anita and her husband were later killed in a car accident. Finally free of her brother, Harriet returns to Sweden and tearfully reunites with Henrik. As promised, Henrik gives Blomkvist information against Wennerström, but it proves useless. Salander then hacks Wennerström's accounts, finds Blomkvist evidence of Wennerström's crimes, which Blomkvist uses to ruin him. Salander travels to Switzerland in disguise and removes two billion euros from Wennerström's secret accounts. Wennerström is later murdered in an apparent gangland shooting. On her way to give Blomkvist a Christmas present, Salander sees him with Erika. She then discards the gift and rides away on her motorbike.