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The Girl With The Dragon Tattoo Movie Script

Writer(s) : Steven Zaillian

Genres : Crime, Drama, Mystery

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                  THE GIRL WITH THE DRAGON TATTOO


                            Written by

                         Steven Zaillian





1    EXT. SWEDEN - DAY                                               1

     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 -

2    EXT. CABIN - ESTABLISHING                                   A2

2    INT. CABIN - LAKE SILJAN - DAY                                  2
     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.

                             MORELL
               What kind is it?

                               VANGER O/S
               I don't know.    White.

                             MORELL
               And the frame?

                               VANGER O/S
               Dark.

                               MORELL
               Postmark?

                             VANGER O/S
               Same as last time.

                               MORELL
               No note.

                               VANGER O/S
               No.

3    INT. VANGER'S STUDY - SAME TIME                                 3

     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.
                             VANGER
               I can't take it anymore.
                             MORELL O/S
               I know. I'm sorry, Henrik.

     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 -
                                                             2.
                                                              2.
     

4    INT. COURTHOUSE - STOCKHOLM - DAY                             4

     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 -

                             BLOMKVIST
               What is this, the media event of the
               year?
                             REPORTER 1
               Don't try to play it down, Mikael, it
               won't work.

                             BLOMKVIST
               Don't try to play it up, that won't
               either.
4A   EXT. COURTHOUSE - STOCKHOLM - DAY - CONTINUOUS            4A

     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 -

                             REPORTER 2
               Will you appeal?
                             BLOMKVIST
               I'll appeal to you, Viggo:   Find a
               real story to cover.
     He hurries off in the rain.

                             NEWSCASTER V/O
               Financial journalist Mikael Blomkvist
               was found guilty today on 16 counts
               of aggravated libel against financier
               Hans-Erik Wennerstrom.

5    INT. CAFE - STOCKHOLM - DAY                                   5

     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.
                                                            3.
                                                             3.
    

                            TV NEWSCASTER
              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.

    The report cuts to a shot of Wennerstrom outside the
    courthouse in an Armani suit, surrounded by his legal
    team, confidently addressing the reporters -

                            WENNERSTROM ON TV
              I have nothing against Mr.
              Blomkvist. He's a good journalist
              who I don't believe is guided by
              malice. But what he wrote was
              inaccurate, and inaccuracies can't go
              unanswered. He - all journalists -
              have to accept like the rest of us,
              actions have consequences.

    Done with his sandwich, Blomkvist goes to the counter.
                            BLOMKVIST
              Marlboro Red ... and a lighter.
6   EXT. CAFE - MOMENTS LATER - DAY                               6

    He comes out tamping the pack. Extracts a cigarette.
    Tosses the pack in a sidewalk trash bin. Flicks at the
    lighter but can't get it to fire in the wind and rain.
    Hunches his body around it, coaxes it to life.

                            TV NEWSCASTER V/O
              Blomkvist was ordered to pay 600
              thousand SKE in damages and all court
              costs, which could be significantly
              more.

    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.

7   EXT. MILLENNIUM OFFICES, STOCKHOLM - DAY - ESTABLISHING       7
8   INT. MILLENNIUM'S OFFICES - DAY                               8

    He comes through past Christmas decorations and a mostly-
    young staff. They try not to regard him as a dead-man-
    walking, but aren't entirely successful. He enters the
    editor's office.
                                                          4.
                                                           4.
  

                        ERIKA
          Where you been?

Erika Berger is about Blomkvist's age, and - like the
IKEA furniture - sends a mixed message: a feminist in a
mini-skirt.

                          BLOMKVIST
          Walking.    Thinking.

                          ERIKA
          Smoking?

                          BLOMKVIST
          Just one.
He sits, exhausted and depressed, in a cheap Poang chair.
                        ERIKA
          TV4 called. I told them no
          statement until we've read the
          judgment in its entirety.

                          BLOMKVIST
          I have.    Who else?
                        ERIKA
          Everyone who's ever wanted to see
          you humiliated.
                        BLOMKVIST
          You've been on the phone all day
          then.

                        ERIKA
          I'm as much to blame for this as you.

                          BLOMKVIST
          You are?    You wrote it?
                          ERIKA
          I read it.    I ran it.

                          BLOMKVIST
          Not the same.
                        ERIKA
          Our credibility isn't dead, Mikael.

                          BLOMKVIST
          Mine is.
They regard each other in another silence.      Then -
                                                             5.
                                                              5.
     

                             BLOMKVIST
               I'm tired. I feel like climbing
               under a duvet and sleeping for a
               week.
                             ERIKA
               Alone?
     He thinks about it ... shakes his head `no.'

                             ERIKA
               I already called Greger and told him
               I wouldn't be home tonight.
9    EXT. STOCKHOLM - SAME TIME - DAY                              9

     A motorcycle dives down a driveway that burrows under a
     three-story building.

10   INT. ARMANSKY'S OFFICE - MILTON SECURITY - DAY            10

     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.

                             ARMANSKY
               It's possible we could wait forever.
                             FRODE
               You called her, I thought.     You spoke
               to her.
                             ARMANSKY
               I'm afraid that doesn't mean much.

                             FRODE
               I don't understand.

                             ARMANSKY
               No one here likes her. So it's
               better if she works at home.
                             FRODE
               But you told her I wanted to meet
               her.

                             ARMANSKY
               But I've told her many more times I
               prefer her not to meet clients.

11   INT. MILTON SECURITY - SAME TIME - DAY                    11

     The figure from the motorcycle crosses the lobby. From
     behind we can't see him/her well, but can see wary looks
     from others emerging from and getting into the elevator.
                                                               6.
                                                                6.
       

                             FRODE V/O
               But you like her.
                             ARMANSKY V/O
               Very much. She's one of the best
               investigators I have. As you saw
               from her report -

12   INT. ARMANSKY'S OFFICE - SAME TIME - CONTINUED              12

     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.
                               FRODE
               But.

                             ARMANSKY
               I'm concerned you won't like her.
               She's different.
                               FRODE
               In what way.

                               ARMANSKY
               In every way.
13   INT. MILTON SECURITY - STOCKHOLM - SAME TIME - DAY          13

     The black-clad figure - from behind again - strides past
     coworkers who look away.

14   INT. ARMANSKY'S OFFICE - SAME TIME - CONTINUED              14
                             SECRETARY/INTERCOM
               Ms. Salander's here.

     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 isn't punk fashion. This
     is someone saying, Stay the fuck away from me.

                             ARMANSKY
               Lisbeth, Mr. Dirch Frode.
                             FRODE
               How do you do?
                                                           7.
                                                            7.
   

She doesn't shake Frode's hand, but does address him:

                        SALANDER
          Something wrong with the report?
                        FRODE
          No. It seems quite thorough.
          There's a wealth of data here. But
          I'm also interested to know what's
          not in it.

                        SALANDER
          There's nothing not in it.

                        FRODE
          Your opinion of him isn't.

                        SALANDER
          I'm not paid to give my opinion.

                        FRODE
          So you don't have one?

Salander sends Armansky a weary look. His look back
begs her not to say anything unpleasant. Eventually -
                         SALANDER
          He's clean.   In my opinion.

                        FRODE
          He's - excuse me?

                        SALANDER
          He's honest. He's who he presents
          himself to be. In his business,
          that's an asset.

                        FRODE
          There's less in his asset column
          after his conviction today.
                        SALANDER
          That's true. He made a fool of
          himself with that. If it happened
          that way.
Frode looks at Armansky.    What's that supposed to mean?

                        SALANDER
          If he made up the story, that's
          out of character. So is giving up
          without a fight. People don't do
          things that are out of character.

                        FRODE
          Are you saying he was set up?
                                                        8.
                                                         8.


                        SALANDER
          That wasn't part of my assignment.

And, apparently, she has no opinion on it either.
                        FRODE
          You're quite right he made a fool of
          himself professionally. How big of a
          fool did he make of himself
          financially?

                        SALANDER
          The judgement will just about empty
          his savings.
This seems to please Frode more than anything else that
has been said, and Salander sees it.
                        SALANDER
          May I go?

                        FRODE
          Your report is light in another
          area. His personal life. Anything
          you chose not to include?
                        SALANDER
          Nothing that warranted inclusion.

                        FRODE
          I'm not sure if that means yes or no.

                        ARMANSKY
          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.

                        FRODE
          Not in this case. I have to know
          if there's anything about him I might
          find unsavory - even if she doesn't.

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 -
                        SALANDER
          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.

Frode thinks about that, perhaps imagining how much
simpler his own life would be with such an arrangement.
                                                              9.
                                                               9.
      

                              FRODE
                You were right not to include that.

                              SALANDER
                I know.
                              FRODE
                Anything else?
                              SALANDER
                No.

                              FRODE
                Please think before you say no.
                              SALANDER
                I did.
                              FRODE
                I don't want to be surprised by
                something later.

      Salander offers nothing more.

                             FRODE
                So. Nothing else. In the personal
                department. You're sure.

                              SALANDER
                     (pause)
                He likes sandwiches.
A15   EXT. BLOMKVIST'S APARTMENT - ESTABLISHING                A15

15    INT. BLOMKVIST'S APARTMENT - NIGHT                        15
      Blomkvist isn'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.

                              ERIKA
                Usually when I wake up in a cold
                bed, it's at home.

                              BLOMKVIST
                Sorry.

                              ERIKA
                What are you doing?
                                                              10.
                                                              10.
      

                               BLOMKVIST
                 Writing the press release.

                               ERIKA
                 Saying -
                               BLOMKVIST
                 You're taking over as publisher.
                 You're sorry for any nuisance
                 Wennerstrom was caused. I can't be
                 reached for comment.

                               ERIKA
                 You're giving up.
                               BLOMKVIST
                 Just taking a few steps aside.
                 For you.
                               ERIKA
                 This makes me sick.
16    OMIT:   INT. BOOKSTORE - STOCKHOLM - DAY                  16

17    INT. MCDONALD'S - STOCKHOLM - DAY                         17

      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.

A18   EXT. PALMGREN'S APARTMENT - ESTABLISHING                 A18
18    INT. PALMGREN'S APARTMENT - STOCKHOLM - DAY               18

      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.

19    INT. BLOMKVIST'S APARTMENT - STOCKHOLM - EVENING          19

      It's doubtful there's a stranger Christmas gathering
      going on anywhere in the world. Standing around with
      eggnog are:
                                                          11.
                                                          11.
  

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 (and perhaps lovers).
                        GREGER
          You needed a better attorney.       You
          needed your sister.
                          BLOMKVIST
          She offered.

                          ANNIKA
          He declined.
                          BLOMKVIST
          As she hoped.
                        ANNIKA
          Never a good idea mixing family and
          business.

                        BLOMKVIST
          And I still would have lost.

                        GREGOR
          Did you have ... anything on him.

                          BLOMKVIST
          I had a lot.    It just wasn't any
          good.

                        ERIKA
          It wasn't even about Mikael. It
          was Wennerstrom sending a message to
          the press as a whole - and the FSA:
          Don't ask questions.

Blomkvist's daughter seems concerned for him.
                        BLOMKVIST
          I'm fine, Nilla. You don't have to
          worry about me.

                        PERNILLA
          Mom's worried.
                          BLOMKVIST
          About me?

                        PERNILLA
          About all that money.
                                                               12.
                                                               12.
       

20   INT. SODER HOSPITAL - STOCKHOLM - NIGHT                     20

     Outside the ICU, Salander sits on the floor like a dog
     who won'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 -

                              DOCTOR
                You're Mr. Palmgren's daughter?
                               SALANDER
                His ward.   He doesn't have a
                daughter.

     The doctor isn't sure then if he should talk to her.
                               SALANDER
                Please.
21   INT. ICU - SODER HOSPITAL - LATER - NIGHT                   21
     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.

                              DOCTOR V/O
                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.

22   OMIT:   INT. METRO - MOVING - STOCKHOLM - NIGHT             22

23   INT. BLOMKVIST'S APARTMENT - STOCKHOLM - NIGHT              23

     They're around the dinner table now, passing platters
     around. Blomkvist notices his daughter's head is bowed
     in silent prayer.

                                BLOMKVIST
                Nilla?    What are you doing?
                               PERNILLA
                Nothing.

                              BLOMKVIST
                     (pause)
                You're not serious.
                                                       13.
                                                       13.
                       Dragon Tattoo Final 9/1/11 SZ

                        PERNILLA
          I don't want to talk about it since
          I know you won't approve.

                        BLOMKVIST
          Of -
               (she doesn't say)
          Nilla.
                        PERNILLA
          Light of Life.

                        BLOMKVIST
          Light of - what?
               (she doesn't repeat it)
          What is that?

                        PERNILLA
          You think it's all senseless but it
          isn't. It's more natural to believe
          in something than not to.

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.
                        BLOMKVIST
          Excuse me.
Looking back at his daughter with some concern, he steps
away to take the call.

                        BLOMKVIST
          Hello.
                        FRODE O/S
          Mr. Blomkvist?

                        BLOMKVIST
          Yes.

                        FRODE O/S
          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
          (him) -

                        BLOMKVIST
          Of course.
                        FRODE O/S
          He'd like to speak to you about a
          private matter.
                                                               14.
                                                               14.
       

                              BLOMKVIST
                You know, you're calling at an
                awkward time.

                              FRODE O/S
                I'm sorry. I'm about to sit down to
                Christmas dinner myself.
                              BLOMKVIST
                That's not what I mean.

                              FRODE O/S
                You're referring to your recent
                legal trouble. That has provided Mr.
                Vanger with some entertainment.
                               BLOMKVIST
                Excuse me?

                              FRODE O/S
                He doesn't care for Wennerstrom
                either.

      Frode, in his polite, deliberate way, is reeling
      Blomkvist in like a perch.

                              BLOMKVIST
                Have him call me.
                              FRODE O/S
                He'd like to meet in person if that's
                okay. Up north. Hedestad.

                               BLOMKVIST
                No.   Sorry.

                              FRODE O/S
                He's much too old to make a trip to
                Stockholm, Mr. Blomkvist. Please.
                If you'd be so kind as to consider.

      Blomkvist isn't sure what to do, or say.
                              FRODE O/S
                Hedestad is lovely in winter.      Like a
                Christmas card.

23A   INT. METRO - MOVING - STOCKHOLM - MORNING                 23A

      Salander rides a crowded underground train, but feels
      even more cut off from the people around her than usual;
      completely alone.
                                                              15.
                                                              15.
      

24    EXT. NORRLAND COAST - DAY                                 24

      A passenger train, barely visible in a severe snowstorm,
      makes its way north. This is no Christmas card.
24A   INT. SJ TRAIN - MOVING - DAY                             24A

      Blomkvist stares out at the bleak, northern landscape.
25    EXT. TRAIN STATION - HEDESTAD - DAY                       25

      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.

26    INT/EXT. MERCEDES / HEDESTAD - DAY                        26
      Frode's Mercedes comes across a long bridge linking the
      old industrial town to a rocky island.
                              FRODE
                First time in Hedestad?

                              BLOMKVIST
                And last, I'm sure.
                              FRODE
                It's lovely in the spring.

                              BLOMKVIST
                You said it was lovely in winter.

                              FRODE
                This is unseasonable.

                              BLOMKVIST
                I'll be on the 4:30 train back to
                Stockholm.

                              FRODE
                Unless we get snowed in ... I'm
                joking. You'll be home tonight, if
                that's what you wish.

27    INT/EXT. MERCEDES - HEDEBY ISLAND - DAY                   27
      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.

                               VANGER
                Welcome.   Come inside.    It's warm.
                                                               16.
                                                               16.
       

28   INT. VANGER MANOR - DAY                                     28

     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 -
                             VANGER
               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?

                             FRODE
               Mr. Blomkvist would like to be on the
               4:30 train back to Stockholm.

                               VANGER
               What?

                             BLOMKVIST
               I can't stay for dinner.

     Vanger looks thoroughly disappointed.      Or hurt.

                            VANGER
               Oh. I guess I'd better be quick
               then. Thank you, Dirch. Mikael,
               this way.
29   INT. VANGER'S STUDY - DAY                                   29

     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.

                             VANGER
               What do you know about me?
                             BLOMKVIST
               That you used to run one of the
               biggest industrial firms in the
               country.

                              VANGER
               Used to.   That's correct.

     There are framed black and white photographs on a wall -
     factories and trains figuring into all of them.
                                                              17.
                                                              17.
      

                               VANGER
                 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.
                      (pause)
                 You know what our most profitable
                 product now is?
                      (Blomkvist doesn't)
                 Fertilizer.

      Blomkvist imagines he's meant to offer a wistful shrug.
                               VANGER
                 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.

                               BLOMKVIST
                 Doing.

                               VANGER
                 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.
A30   EXT. SALANDER'S APARTMENT - ESTABLISHING                 A30

30    INT. SALANDER'S APARTMENT - DAY                           30

      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:
                                                             18.
                                                             18.
    

     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 (80 billion kronor)
     ... 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.

31   EXT. HEDEBY ISLAND - DAY - 1960                           31
     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 -

                             VANGER V/O
               This is Harriet. The granddaughter
               of my brother Richard.

32   INT. VANGER'S STUDY - DAY                                 32
     The same photograph of Harriet in a photo album Vanger
     shows Blomkvist.
                             VANGER
               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.
                                                         19.
                                                         19.
 

A page in the album turns to reveal a photo of a young
man in a uniform with a Nazi pin.

                         VANGER
           Isn't it interesting how fascists
           always steal the word freedom.
                (Blomkvist checks his watch)
           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.

We see photos of Gottfried, a handsome young man.

                         VANGER
           Now, Gottfried - Harriet's father -
           was what people used to call a Good-
           Time-Charlie.

                         BLOMKVIST
           They're still called that.
                          VANGER
           Are they?   Okay.
INSERT:   Close on a photo of Gottfried.

                         VANGER
           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.

                         BLOMKVIST
           Someone has to do it.
                        VANGER
           That's right. Anyway, he died in
           1965. Drowned. Drunk. Here on the
           island.
A studio photo: Gottfried with his wife and two children.

                         VANGER
           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.
                                                             20.
                                                             20.
     

     A photo of a much younger Vanger and 15-year-old Harriet.

                              VANGER
                She was bright and curious, a
                winning combination in any person.
                              BLOMKVIST
                And beautiful.
     Vanger nods as he regards the photo ...

                              BLOMKVIST
                Something happened to her?

     Vanger nods again; is silent for several moments ...
                              VANGER
                Someone in the family murdered
                Harriet and for the last forty years
                has been trying to drive me insane.
33   OMIT:   INT. SALANDER'S APARTMENT - STOCKHOLM - DAY       33
34   EXT. TRAIN STATION - HEDESTAD - DUSK                      34

     The 4:30 train leaves the station without Blomkvist.
35   INT. VANGER'S STUDY - DUSK                                35

     Anna gathers the cups and leaves with the tea tray.
                              VANGER
                It was September 21st, 1966.    A
                Saturday. Harriet was 16.

36   EXT. VANGER ESTATE - DAY - 1966                           36

     Three generations of Vangers dot the grounds.

                              VANGER V/O
                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.

37   EXT. HEDESTAD - DAY - 1966                                37

     And we see the parade, and, among the spectators lining
     the town's main street, Harriet with other teenage girls.
                                                             21.
                                                             21.
     

                             VANGER V/O
               Harriet and a couple of school
               friends had gone into town to watch
               it. She returned a little after two
               o'clock.
38   INT. VANGER'S PARLOR - DAY - 1966                         38

     A clock in the room reads, 2:10.    Vanger and a few family
     members sip afternoon cocktails.    Harriet appears.

                             VANGER V/O
               She came to the parlor. She asked
               if she could talk to me. I honestly
               don't remember what I was doing that
               I thought was more important, but I
               told her to give me a few minutes.
     She leaves.   He returns to the others in the room.

                             VANGER V/O
               But in a few minutes, before I could
               go upstairs to talk to her, something
               else occurred.

39   EXT. HEDEBY ISLAND - DAY - 1966                           39
     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.
                             VANGER V/O
               The accident had nothing to do with
               Harriet - and everything.

40   INT. VANGER'S FAMILY ROOM - DAY - 1966                    40

     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.

                             VANGER V/O
               It was chaos as everyone dropped what
               they were doing.

41   EXT. THE BRIDGE - DAY - 1966                              41
     People and vehicles converge on both sides of the bridge.

                             VANGER V/O
               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.
                                                              22.
                                                              22.
      

      The truck driver has managed to climb out of his cab, but
      the other motorist is trapped.

                               VANGER V/O
                 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.

      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 -

                               VANGER V/O
                 About twenty minutes after the crash,
                 Harriet was in the kitchen. Anna
                 herself saw her.
42    INT. KITCHEN - VANGER MANOR - DAY - 1966                  42

      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 ...

43    EXT. THE BRIDGE - DUSK - 1966                             43
      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.
                               VANGER V/O
                 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.

44    INT. VANGER MANOR - NIGHT - 1966                          44

      The family has assembled at a long dining table.

                               VANGER V/O
                 The sun was down, the excitement
                 over, we sat down to dinner. That's
                 when I noticed Harriet wasn't there.

      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.

                               VANGER V/O
                 And she wasn't there the next
                 morning. Or the next. Or the next
                 forty years.

44A   OMIT:   INT. VANGER MANOR - NIGHT                        44A
                                                             23.
                                                             23.
     

45    INT. VANGER'S MANOR - DUSK - PRESENT DAY                 45

      Vanger has the same look of concern on his face now as he
      leads Blomkvist up some stairs.

                              VANGER
                What was she going to tell me? Why
                didn't I make time for her? Why
                didn't I listen?

                              BLOMKVIST
                She couldn't have run away?

                              VANGER
                Not without being seen.

45A   EXT. THE BRIDGE - NIGHT - 1966                           45A
      The crews continue their work under lights.

                              VANGER
                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.
45B   INT. VANGER MANOR - DUSK - PRESENT DAY                   45B

                              BLOMKVIST
                She couldn't have fallen and drowned?

                              VANGER
                The currents aren't strong here.
                Anything that falls into the water
                turns up nearby. Like her father.
                His body didn't drift more than ten
                meters when he drowned the year
                before.
      Vanger's pauses at a landing to steady himself and his
      labored breathing.

                              VANGER
                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.
      He unlocks the door of the attic and pushes it open to
      reveal a cluster of nine dusty framed dried flowers on a
      wall.
                                                             24.
                                                             24.
     

                             VANGER
               These were from her.

     And, on another wall, forty similarly-framed flowers -
                             VANGER
               These, from her killer.
     Blomkvist regards the forty ...

                             BLOMKVIST
               Who knows about these?

                             VANGER
               Me, the police, the murderer ...
               and now you.




46   EXT. STOCKHOLM - DUSK                                     46
     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.
47   INT. APARTMENT BUILDING - STOCKHOLM - CONTINUOUS          47

     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.

48   EXT. VANGER'S MANOR - NIGHT                               48

     The rain here is icier and more punishing.

                             VANGER V/O
               When the police investigation petered
               out, I kept at it -
                                                            25.
                                                            25.
    

49   INT. VANGER MANOR - NIGHT                                49

     They're eating dinner now in the dining room.

                             VANGER
               - 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.
     And for all that, he's no closer to the truth.

                             BLOMKVIST
               I understand your frustration.
               But what you're asking me to do is
               a waste of money.
                             VANGER
               We haven't discussed your fee.
                             BLOMKVIST
               We don't need to. I can't find
               something you haven't been able to
               in forty years.

                             VANGER
               You don't know that. You have a
               very keen investigative mind.

     Blomkvist wonders why he ever agreed to come here as
     Vanger refills his wine glass.
                             VANGER
               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 don't.

                             BLOMKVIST
               You want me to set aside my life
               and career for something that's a
               complete waste of time.

                             VANGER
               Think of it as a well deserved
               vacation. A way of avoiding all the
               people you want to avoid right now.
                    (nothing from Blomkvist)
               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.
                                                             26.
                                                             26.
     

                              BLOMKVIST
                Mr. (Vanger) -

                              VANGER
                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
                can't be bought at any price. I'll
                give it to you ... Hans-Erik
                Wennerstrom.

      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.
                              VANGER
                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 couldn't
                prove it.

A50   EXT. PLAGUE'S APARTMENT - ESTABLISHING                  A50

50    INT. PLAGUE'S APARTMENT - STOCKHOLM - NIGHT                 50

      Salander climbs a flight of stairs in a building that
      couldn'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.

                              PLAGUE
                Would you like to sit? I could
                possibly clear a place if necessary.

      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.
                              SALANDER
                Did you make it?
                              PLAGUE
                Have you something for me?

      She takes some cash from a pocket, hands it to him.    He
      counts it and is unimpressed with its total.

                              PLAGUE
                I'm on welfare; I don't administer
                it. This isn't enough.
                                                              27.
                                                              27.
     

                              SALANDER
                I had to pay three months back rent
                and eat a little bit. It's all I
                have right now.
                              PLAGUE
                I find that so poignant.
      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.

                              PLAGUE
                No `thank you?'
51    INT. MILLENNIUM OFFICE - EARLY MORNING                    51

      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.
                              ERIKA V/O
                You can't be serious -

51A   INT/EXT. MILLENNIUM'S OFFICES - EARLY MORNING - LATER    51A
      He zips the suitcase with the supplies in it closed and
      gathers the rest.

                              ERIKA
                We're in our worst crisis ever and
                you're writing a memoir?
                              BLOMKVIST
                You fired me; I need something to do.
                              ERIKA
                You fired you; I need you here, not
                the North Pole. You know what this
                is going to look like.

                              BLOMKVIST
                Like I've been gutted. Like I'm
                running away. I am.
      They cross through the building, he with his cases, she
      with her coffee cup.
                                                            28.
                                                            28.
    

                             BLOMKVIST
               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.

                             ERIKA
               There is a problem between us. He
               won't be satisfied until he shuts us
               down, and you're leaving me to fight
               him alone.

     He kisses her but gets back no more than he would from a
     statue - and steps outside.
                             BLOMKVIST
               It's four hours by train.   It's not
               the North Pole.
52   EXT. TRAIN STATION - HEDESTAD - DAY                      52
     The depot thermometer reads 0. Blomkvist disembarks with
     two suitcases. This time, Frode isn't there to meet him.
     He struggles with his luggage through the snow to a taxi
     stand.
53   INT. TAXI - MOVING - DAY                                 53

     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.
                             BLOMKVIST
               Think this snow's going to let up
               anytime soon?

                             HUSSEIN
               This is the North Pole.

54   EXT. COTTAGE - HEDEBY ISLAND - DAY                       54

     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.
55   INT. COTTAGE - DAY                                       55
     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.
                                                               29.
                                                               29.
       

     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.
                                BLOMKVIST
               What.   Milk?

     He opens the old fridge.    No milk.    Nothing.
56   EXT. COTTAGE - DAY                                          56

     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. Can't.
57   INT. MARKET - HEDESTAD - DUSK                               57

     He purchases milk, butter, a loaf of sliced bread, some
     packaged lunch meats and a few cans of cat food.
58   EXT. HEDESTAD - DUSK                                        58

     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.

59   EXT. HEDESTAD - DUSK                                        59

     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.

                             BLOMKVIST
               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 can't even speak it's
               so fucking cold.

     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.

60   INT. COTTAGE - NIGHT                                        60

     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.
                                                             30.
                                                             30.
     

61   EXT. WENNERSTROM'S BUILDING - NIGHT                       61

     Salander appears and keys in the four lock tones.
62   INT. WENNERSTROM'S BUILDING - NIGHT                       62
     In the machine room again, she pulls one cable away from
     the others and wires to it to Plague's electronic box.
63   EXT. HEDESTAD - DAWN                                      63

     The bell in the church tower clangs -

64   INT. COTTAGE - DAWN                                       64

     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.

                              NILSSON
               I'm Gunner.   The caretaker.
65   INT. COTTAGE - LATER - DAWN                               65

     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.

                             NILSSON
               You're an author.
                             BLOMKVIST
               I'm writing a biography of Mr.
               Vanger, yes.

     Nilsson nods, but isn't sure he believes it. Maybe he
     took a look inside the boxes before he brought them down.
                             NILSSON
               I saw you on television.
                             BLOMKVIST
               That's unfortunate.

                             NILSSON
               Bit of trouble, I guess.

     Blomkvist nods and hopes that's enough to put an end to
     the subject. It isn't.

                             NILSSON
               No jail time, though. That's good.
               Cost you a lot of money though, yeah?
                                                             31.
                                                             31.
    

     Blomkvist shares his annoyance with the cat. Nilsson
     dusts himself off, satisfied with the fire he's made.

                                NILSSON
               There.
66   EXT. VANGER ESTATE - DAY                                  66

     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.

                             VANGER
               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.

                             BLOMKVIST
               He was there that day?

                             VANGER
               Indeed he was.

     Vanger's look to Blomkvist adds, `so consider him a
     suspect.' He indicates another house on the grounds -
                             VANGER
               That's his daughter Cecilia's house.
               They don't speak.

                             BLOMKVIST
               Does anyone speak to anyone on this
               island?

                             VANGER
               Actually, Isabella - Harriet's mother
               - who lives there -
                    (points)
               - she speaks to Harald - which is one
               of reasons I don't speak to her.
                    (points)
               Cecilia's brother Birger lives there.
                             BLOMKVIST
               Who doesn't he speak to?
                             VANGER
               You, probably. Not that you'd want
               him to. He can be as unpleasant as
               Harald.
                                                        32.
                                                        32.


                        BLOMKVIST
          I'm quickly losing track who's who.

                        VANGER
          Oh, how you'll wish were it always
          so. Soon you'll know us all only too
          well - with my apologies.
               (points)
          Out there is my nephew Martin's
          house; Harriet's brother.

It's a modern house - lots of glass - out on the point.

                        BLOMKVIST
          Who speaks to him?
                        VANGER
          I speak to him. He runs the company
          now, as I think I told you.

They hear a distant rifle crack and echo.     It startles
Blomkvist a bit, but not Vanger.

                        VANGER
          Someone shooting their dinner.
          Gunner probably. The caretaker.
                        BLOMKVIST
          I just met him.
                        VANGER
          He was 19 when Harriet disappeared.

Old enough, Blomkvist gathers, to be considered a
suspect. Vanger points off -
                        VANGER
          He lives over there.

Shivering in the cold, Blomkvist turns.
                        BLOMKVIST
          And you live here.

                        VANGER
          Sorry?
                        BLOMKVIST
          Your house.

For a moment, Vanger isn't sure what Blomkvist means.
Then he is, and is pleased by it.
                                                                    33.
                                                                    33.
     

                              VANGER
                Yes, you're right. The man who
                hires the detective should always be
                kept on the suspects list.
66A   OMIT - INT. COTTAGE - DAY                                      66A


67    INT. PALMGREN'S APARTMENT - DAY                                 67

      A nurse takes a tray away, leaving Salander alone with
      Palmgren, separated by the chess table they won't playing
      a game on. She wipes his mouth with her sleeve.

                              SALANDER
                I got a call from social welfare.
                I've been assigned a new guardian.

      It's unlikely he understands what she has said.        It's
      unlikely he even knows she's there.

68    INT. COTTAGE - NIGHT                                            68
      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."

69    EXT. HEDEBY ISLAND - NIGHT - 1966                               69

      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."

70    INT. VANGER MANOR - NIGHT - 1966                                70
      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.

                              MORELL
                I'd like to see the girl's room.

                              VANGER
                It's down the hall.
                                                              34.
                                                              34.
      

                             MORELL
               I thought this was your house.

                               VANGER
               It is.    She lives with me.
                             MORELL
               Are her parents alive?
                             VANGER
               Her mother is.

     Vanger points Isabella out. Slender, overdressed and
     smoking a Sobranie, she immediately strikes Morell as a
     woman as venomous as she is beautiful.
                              VANGER
               This way.
     Morell follows Vanger down a hall -

     INTERCUT: Blomkvist reads, "Approx. 12:05, inspected
     missing girl's bedroom. Found - "
71   INT. HARRIET'S ROOM - VANGER MANOR - DAWN - 1966           71

     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.
                             DET. MORELL
               I want to speak to everyone here.
               That'll take all night so you might
               want someone to put some coffee on.

                             YOUNGER VANGER
               What about the search?

                             MORELL
               First thing in the morning.
                             YOUNGER VANGER
               No. We should do it now. She could
               be hurt out there.

     Vanger is either a good actor or has nothing to hide.
                              VANGER
               Please.   I beg you.
     INTERCUT: Blomkvist reads, "authorized our patrol boat
     and two volunteer craft to begin 12:20 a.m. - G. Morell."
                                                              35.
                                                              35.
      

71A   EXT. HEDEBY ISLAND - NIGHT - 1966                        71A

      The police patrol boat and two Peterssons motor around
      the island, spotlighting the shore and rocky cliffs.
71B   INT. VANGER MANOR - NIGHT - 1966                         71B

      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."

72    OMIT:   INT. VANGER MANOR - NIGHT - 1966                  72

73    OMIT:   EXT. HEDEBY ISLAND - NIGHT - 1966                 73
74    EXT. HEDEBY ISLAND - DAWN - 1966                          74

      Search parties crisscross the island, wade through
      ditches, check old barns, shine flashlights up chimneys.
      Woodsmen with blood hounds comb through woods.

                               MORELL V/O
                 We searched for days ...

75    EXT/INT. TRAIN - MOVING - LAKE SILJAN - PRESENT DAY       75

      A train bisects the landscape.   Blomkvist looks out.
                               MORELL V/O
                 Eventually, much to his dismay - and
                 mine - I had to talk to Henrik about
                 calling it off -

76    EXT. HEDEBY ISLAND - DUSK - 1966                          76

      As the search continues, Morell, looking like he hasn't
      slept - which he hasn't - peers down a rocky cliff to the
      water. Somehow he knows they're never going to find her.

                               MORELL V/O
                 The fact that I never found a body
                 didn't surprise me. You can't dig
                 up an entire island.
A77   OMIT: EXT. CABIN - LAKE SILJAN - ESTABLISHING            A77

77    INT. CABIN - LAKE SILJAN - DAY                            77

      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.
                                                         36.
                                                         36.
 

                          MORELL
          But   I also couldn't find a motive.
          Was   it spontaneous? Was it planned?
          Did   she know something someone wished
          she   didn't? Was it about business?
                         BLOMKVIST
          Business?   She was sixteen.
                        MORELL
          And very bright. Henrik told me he
          could easily imagine her running the
          business someday, which would mean
          someone else wouldn't.


                        BLOMKVIST
          She was with some friends that day.
          At a parade. You must have talked to
          them.

                        MORELL
          She told them she wasn'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.
                         BLOMKVIST
          I have one.

                        MORELL
          So you know.
               (Blomkvist does indeed)
          Did you bring the last gift Henrik
          received?

                        BLOMKVIST
          It's at the National Forensic Lab.

                        MORELL
          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.
He lights the pipe.   Blomkvist watches the tobacco glow.

                        BLOMKVIST
          I wanted to ask you about this.

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.
                                                       37.
                                                       37.
                       Dragon Tattoo Final 9/1/11 SZ

                        MORELL
          She received this from Henrik the
          Christmas before. I studied it more
          times than I can say. I know every
          page of it.
                        BLOMKVIST
          It's the last page I'm curious about.
                        MORELL
          As was I.

                        BLOMKVIST
          The only names not alphabetized.
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

                        MORELL
          They're local Hedestad phone numbers.
          The first belonged to a woman named
          Margot, whose mother was Magda, who
          claimed she didn'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.
He hands the address book back. It, and everything else
about the case, clearly trouble him still.

                        BLOMKVIST
          I've reminded you of things you'd
          rather forget. I'm sorry.

                        MORELL
          I can't forget it. It's my Rebecka
          Case.

Blomkvist isn't sure what that means.

                        MORELL
          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.
                        BLOMKVIST
          Was this also a missing girl case?
                                                             38.
                                                             38.
    

                             MORELL
               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.
     And neither can poor Morell with his Harriet case.
78   EXT. STOCKHOLM - DAY                                      78

     An unexciting social welfare building.

79   INT. BJURMAN'S OFFICE - DAY                               79

     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.

                             BJURMAN
               How's Mr. Palmgren doing? I was
               told he had a stroke of some kind.
                    (nothing from Salander)
               Terrible.

     It is, but she can tell he couldn't care less.     He leafs
     through her file -
                             BJURMAN
               What exactly do you do at this
               security company?

                             SALANDER
               Make coffee and sort mail.

                             BJURMAN
               But not full-time. Not even part-
               time consistently. They somehow got
               along without coffee or mail in July
               and August?

     Nothing from her.
                             BJURMAN
               How much do you earn there?

                             SALANDER
               Enough.

                             BJURMAN
               How much is your rent?
                                                       39.
                                                       39.
                       Dragon Tattoo Final 9/1/11 SZ

                        SALANDER
          I pay my rent.

                        BJURMAN
          When's the last time you were late?
                        SALANDER
          Never.
                        BJURMAN
          Do you think that ring in your eyelid
          makes you attractive?

Salander, who's had to suffer insufferable officials all
her life, doesn't dignify the question with an answer.
                        BJURMAN
          Here's the problem. There a
          discrepancy between the obligation of
          Mr. Palmgren's guardianship and the
          management of your finances.

                        SALANDER
          It isn't a discrepancy or a problem.
          It was clear to him I could manage my
          own finances.
                        BJURMAN
          But that's not clear to me.
                        SALANDER
          I'm not a child.

                         BJURMAN
          No.  You're not.
                (looks at her too long)
          But you were. And between then and
          now -
                (indicating the files)
          - 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 -
                (the file)
          - not to mention how you're looking
          at me now - I can see you haven'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.
                         (MORE)
                                                              40.
                                                              40.
     
                              BJURMAN (CONT'D)
                If the numbers don't balance, I'll
                have to assume the difference is
                going to drugs.

                              SALANDER
                I've been on my own since I was
                twelve.
                              BJURMAN
                No. You've been a persistent burden
                to the State since you were twelve.

      She won't look at him any more - not that there's
      anything even remotely interesting to see if she did.
                              BJURMAN (CONT'D)
                Ms. Salander? Please look at me.
                Because this is important.
      She does ... in a way that says, I'd like to kill you.

                              BJURMAN
                This behavior you're displaying
                right now is elaborately documented
                here -
                     (in the file)
                - 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?
79A   INT. BJURMAN'S OFFICE BUILDING - DAY                     79A
      Salander steps into the elevator, hits the down button.
      As the doors close -

80    EXT. HEDEBY ISLAND - EVENING                              80

      Martin's house didn'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.
                              LIV
                Mikael?
                     (he manages a nod)
                We're going to the same place.
                Hop in.

81    EXT. MARTIN'S HOUSE - EVENING                             81

      Martin, wearing an apron, opens the door to find both his
      dinner guests on the porch.
                                                             41.
                                                             41.
     

                             LIV
               I found him at death's door halfway
               up the hill.

                             BLOMKVIST
               I'm afraid I'm a bit out of shape.

                             MARTIN
               No, it's a climb for anyone. I
               should've warned you. Come on in.

     Blomkvist puts a bottle of aquavit in Martin's hand.
82   INT. MARTIN'S HOUSE - NIGHT                               82

     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.
                             LIV
               I used to work in the company's
               petrochemical division in Goteborg.
               When it was sold, I went with it.
                             MARTIN
               A dark day.

                             LIV
               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.
                             MARTIN
               She comes for the moose steak.

                             BLOMKVIST
               Is that what this is?

     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.
                             MARTIN
               Something's open. You like this one,
               or would you like to try something
               else?

                             BLOMKVIST
               That one's good.

     Martin heads off to the kitchen. Blomkvist and Liv,
     left with each other, seem unsure what to talk about.
                             LIV
               I saw you on Sky News a while ago.
                                                             42.
                                                             42.
  

                        BLOMKVIST
          That was a dark day.

                        LIV
          Sorry to remind you of it.
                        BLOMKVIST
          It's okay. There are worse things
          than libel - though I can't
          immediately think of one in my
          business.

                        LIV
          You're writing a book now, Martin
          said.
                        BLOMKVIST
          Henrik's biography.
                        LIV
          I love Henrik. He's fascinating.
          Martin, too. Together they're the
          Old Sweden and the New.

                          BLOMKVIST
          They are.
                        LIV
          You know about Harriet, right?

Blomkvist doesn't say.    The sound of the wind stops.
                          LIV
          You don't?

                          BLOMKVIST
          I do.

Martin emerges from the cellar with a bottle of wine in
hand and returns with it to the dining room.
                        LIV O/S
          The family doesn't like to talk about
          it, but it can't just be swept under
          the rug.

                          MARTIN
          What can't.

                          LIV
          Harriet.

Martin doesn't comment.    Just nods.    Silence.   Then -
                                                       43.
                                                       43.
                       Dragon Tattoo Final 9/1/11 SZ

                        BLOMKVIST
          Maybe we could talk about that
          later.

                        MARTIN
          We can talk about it now.
               (Blomkvist glances to Liv)
          Liv knows everything about my crazy
          family. Which is why she'll never
          marry me.

                        LIV
          That's one reason.

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.
                        MARTIN
          Don't put that in your book.
          Anything else is fine. Harriet
          certainly. Everything changed after
          that. Not just the family, but the
          company.

                        BLOMKVIST
          How so.

                        MARTIN
          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.

And Martin's, too, clearly.    Blomkvist dares to ask, as
innocently as possible -

                        BLOMKVIST
          You were here that day?

                        MARTIN
          Everyone was here, though I didn't
          get in until after the accident on
          the bridge. The 4:30 train.

                        BLOMKVIST
          I know it well.
                                                              44.
                                                              44.
      

                             MARTIN
               It was a terrible day. And the days
               after - searching and not finding her
               - were even worse.
     Liv sets her hand atop her boyfriend's.

                             MARTIN
               This event, Mikael, has to be a
               big part of your book.

     Blomkvist promises him with a nod that it will.
83   INT. STOCKHOLM METRO - DAY                                 83

     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 doesn'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 doesn'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.
84   INT/EXT. COTTAGE - DAY                                     84

     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.
                            CECILIA
               Hi. I thought I'd come over and say
               hello. I'm Cecilia.

85   INT. COTTAGE - DAY                                         85
     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.

                             CECILIA
               We're all uncomfortable with the
               idea of a chronicle of our family.
                                                          45.
                                                          45.
  

                         BLOMKVIST
           It's not about the family. It's
           about Henrik and the company.

                          CECILIA
           Like I said.

                         BLOMKVIST
           It's not my intention to present a
           malicious portrait of anyone.

                         CECILIA
           Unlike the one that landed you in
           court.
                         BLOMKVIST
           Unlike that one. Correct.
                         CECILIA
           So, what you're saying is, you're
           not really here to look into what
           happened to Harriet.

Silence.   Then -

                         BLOMKVIST
           I can't ignore such a dramatic event,
           but no, that's not by any means my
           focus.
                         CECILIA
           So all those boxes Gunner carted
           down here - which are where? - in the
           closet now? - weren't Henrik's
           private investigation.
                (Blomkvist can't think fast
                 enough to respond)
           I wonder sometimes who's crazier - my
           Nazi father or my obsessed uncle.
INSERT of the photo of Young Harald in his Nazi uniform
on the wall.

                         BLOMKVIST
           Since we're talking about it, since
           you brought it up, what was Harriet
           like?

                         CECILIA
           I'm sure Henrik has told you.
                         BLOMKVIST
           He was my age then, and so couldn't
           know what was really going on with a
           teenager any more than I can with my
           own daughter. You were her age.
                                                             46.
                                                             46.
     

                           CECILIA
             Actually, my sister Anita was closer
             to her in age.

INSERT of the photo on the wall of Anita, taken when she
was about 17 years old.

                           CECILIA
             She knew Harriet better than anyone -
             certainly better than I did. You
             should talk to her.

                           BLOMKVIST
             I'd love to, where is she.
                           CECILIA
             If I had to guess - London.
                           BLOMKVIST
             You don't know where your own sister
             lives?

                           CECILIA
             I haven't seen her in years.       We
             never really got along.
                           BLOMKVIST
             I'm getting used to that comment.

                           CECILIA
             That's the way it is when you're
             always after the same boys.

                           BLOMKVIST
             People generally get over that sort
             of thing at a certain point.

                           CECILIA
             Oh, I'm long over it, and won'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 couldn't pay her to
             send a Christmas card, much less
             visit.
                           BLOMKVIST
             I'll try to track her down for you.

                             CECILIA
             Don't bother.
                           BLOMKVIST
             For myself then.

He smiles.    She studies him.      Maybe he's not so bad.
                                                               47.
                                                               47.
       

                             CECILIA
               If you do, and try talking to her
               about us, don't be surprised if she
               tells you to fuck off.
86   INT. MACJESUS - DAY                                         86

     A tech tries to get beyond the dreaded blinking "?" on
     the laptop's cracked screen.

                             TECH
               You backed up?

                             SALANDER
               Hard drives at home, yeah.

                               TECH
               That's good.    This one's dead.

87   EXT. MACJESUS - DAY                                         87

     Salander against the store window, cell phone to her ear.
                             SECRETARY V/O
               I'm sorry, he's booked all day.

                             SALANDER
               It'll take five minutes.      It's
               important.

                               SECRETARY V/O
               Hold, please.
     Salander waits. Watches people stare at her like they
     always do. The secretary comes back on.

                             SECRETARY V/O
               Seven o'clock.

88   INT. OFFICE BUILDING - STOCKHOLM - NIGHT                    88

     Salander comes past a janitor waxing a long, otherwise
     empty corridor. At the far end, she opens her new
     guardian's office door.

89   INT. BJURMAN'S OFFICE - NIGHT                               89
     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.

                             BJURMAN
               Have you ever had an STD?
                    (nothing from her)
               When's the last time you were tested
               for HIV?
                             (MORE)
                                                        48.
                                                        48.
                       Dragon Tattoo Final 9/1/11 SZ
                        BJURMAN (CONT'D)
               (nothing)
          How many partners have you had in the
          last month?
               (nothing)
          How many were men?
That last one seems to amuse him; none amuse her.
                        BJURMAN
          I'm required to ask you these things.
          It's a matter of health.

                        SALANDER
          Write down anything you want.
Bjurman sighs. Sets the form aside and looks at the
McJesus invoice again.
                        BJURMAN
          Why do you need such an expensive
          computer?

                        SALANDER
          For work.

                        BJURMAN
          Making coffee and sorting mail.

                        SALANDER
          I shouldn't even have to ask. I
          should have control of my money like
          before.

                        BJURMAN
          And you will. Once you show me you
          can be sociable and get along with
          people. Can you do that?
               (nothing from her)
          Shall we start with me?
               (pause)
          Shall we start now?

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.'
                        BJURMAN
          If you're nice to me, I'll be nice to
          you. That's how normal people are.

He stands in front of her, his crotch at her eye level.
                        BJURMAN
          You've done this before.   You know
          what to do.
                        (MORE)
                                                              49.
                                                              49.
      
                             BJURMAN (CONT'D)
                    (she doesn't do anything)
               Do you want this computer or not?

     He takes her hand and places it on the crotch of his
     trousers.
                             BJURMAN
               You feel that? That's gaberdine.
               Unzip them.
                    (she does)
               And ...
                    (she tugs at his underwear)
               And ...
                    (she doesn't move; he smiles)
               I like the reticence. I prefer a
               whore who pretends she isn't. It's
               almost convincing.
     He grabs her hair and roughly pulls her head toward him.
90   INT. BJURMAN'S OFFICE - LATER - NIGHT                      90
     Salander eats some toothpaste in Bjurman's private
     bathroom. When she returns to the office, she finds him
     calmly writing a check.
                              BJURMAN
               Here you go.   As promised.

     He holds it out to her, but when she reaches for it,
     pulls it back a little.

                             BJURMAN
               I know you're not thinking about
               telling anyone about our date. Enjoy
               your computer games.
     She takes the check and leaves.

91   INT. SALANDER'S APARTMENT - LATER - NIGHT                  91

     She sits cross-legged in the dark. Thinking. Or
     plotting. The dragon tattoo visible on her bare back.

92   INT. AIRLINE - IN FLIGHT - DAY                             92
     Blomkvist, who doesn't care for flying, pours two mini-
     bottles of vodka into a plastic cup.
93   EXT. LONDON - DAY                                          93

     He sprays Binaca in his mouth. Then, careful to look
     both ways, crosses the street to an investment bank.
                                                               50.
                                                               50.
      

94   INT. OFFICE - INVESTMENT BANK - DAY                         94

     Blomkvist approaches a desk.       The brass name plate on it
     reads, Anita Vanger.
                             BLOMKVIST
               Excuse me. I'm sure I should have
               made an appointment.

                               ANITA
               It's fine.    Please.     Have a seat.

     The accent is all British. She's been here much longer
     than her home country. No trace of Swedish anymore. He
     offers his hand -

                                BLOMKVIST
               I'm Mikael.

                              ANITA
               Mikael.   How do you do.

     As he sits, she regards him a little more carefully ...

                             ANITA
               You're looking for investment
               counseling, Mikael?
                             BLOMKVIST
               I would if had any money to invest.

                                ANITA
               Excuse me?

                             BLOMKVIST
               I'm writing a biography of your
               uncle Henrik. That's why I'm here.
     She stares at him. He waits for the response Cecilia
     predicted, but it doesn't come.
95   EXT. CAFE - LONDON - DAY                                    95

     They sit together at a little table on the sidewalk.
                             ANITA
               How is Henrik?
                              BLOMKVIST
               Good.   Engaging. I like him.

     She does, too.
                                             51.
                                             51.
             Dragon Tattoo Final 9/1/11 SZ

              ANITA
I haven't seen him in over 30 years.
Or my sister. Or anyone else in my
family.
              BLOMKVIST
Most of what I'm writing about
predates that, so your recollections
are valid.

              ANITA
I wouldn't know where to start, if
that was a question.

              BLOMKVIST
I can narrow it. I've gotten up to
the 1960s. To the event that altered
everything in Henrik's life.
              ANITA
Harriet.
     (he nods)
Everything I knew about that I told
to - whatever his name was - that
policeman - when it happened.
             BLOMKVIST
Morell.

              ANITA
My recollections then were a lot
better than they are now.

              BLOMKVIST
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.

              ANITA
She was messed up. Like all us
Vanger kids. Crazy mother. Drunken
father. At least hers wasn't a Nazi
like mine.

              BLOMKVIST
Was he abusive?

             ANITA
Mine?
             BLOMKVIST
Hers.
                                                            52.
                                                            52.
    

                             ANITA
               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.

                             BLOMKVIST
               She never confided in you what about,
               specifically?
                             ANITA
               There was no specifically. It was
               everything. It was being part of
               that family. Henrik's the only
               decent person in it.

                             BLOMKVIST
               What do you think happened to her?

                             ANITA
               Everyone knows what.
                             BLOMKVIST
               But you have no ... thoughts about
               why, or who.
                             ANITA
               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 didn't make it to 18.
96   EXT. STOCKHOLM - DAY                                     96

     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.
                             SALANDER
               Mr. Bjurman, please. It's Lisbeth
               Salander.
                    (the call is put through)
               ... 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 don't need a pen,
               what's the address?
                                                                 53.
                                                                 53.
         

97    EXT/INT. HEDEBY ISLAND - TAXI - MOVING - DUSK                97

      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.
98    EXT. BJURMAN'S APARTMENT BUILDING - NIGHT                    98

      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.

                                 BJURMAN O/S
                   Yes?

                                 SALANDER
                   It's me.

      The door buzzes.     She pushes it open.
99    INT. BJURMAN'S APARTMENT BUILDING - NIGHT                    99
      She moves along a hallway with both purpose and dread.
      Knocks on his door ... It opens, revealing him in a robe.
                                 BJURMAN
                   Come on in.

100   INT. BJURMAN'S APARTMENT - CONTINUOUS                       100

      She takes in the layout quickly: living room, dining
      area, kitchen, short hallway to a closed door.

                                 BJURMAN
                   Like it?

                                 SALANDER
                   It's nice.

                                 BJURMAN
                   It's home.
                        (pause)
                   So, what do you need money for this
                   time? Grand Theft Auto 5?

                                 SALANDER
                   Food.
      He smiles.    Steps toward her.    Lifts her chin.
                                BJURMAN
                   How are you? Been thinking about
                   last time? Decided you wanted to see
                   me again?
                                                                54.
                                                                54.
       

                               SALANDER
                 I just want my money.

                               BJURMAN
                 Well, let's see if I can help you out
                 with that.

       He walks to the hallway. She doesn't. He holds out
       his hand. She finally joins him. As they step into the
       bedroom, he roughly pushes her toward the bed.

                               SALANDER
                 Wait.

       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.
                               BJURMAN
                 Is there a problem?

                               SALANDER
                 I just want to know, am I going to
                 have to do this every time I need
                 money to eat?
                               BJURMAN
                 It's so cute when you do that surly
                 thing. Take my hand
       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.
100A   INT. BJURMAN'S APARTMENT - LATER - NIGHT                 100A

       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.
                                BJURMAN
                 Please.   I have neighbors.

       He lights a couple candles.   Switches on some New Age
       music.

                               BJURMAN
                 What we're going to do now is teach
                 you the value of money.

       He watches her struggle. But she's not going anywhere.
       He tears open a condom package with his teeth.
                                                                 55.
                                                                 55.
         

                               BJURMAN
                 I forget - did I ask you before if
                 you liked anal sex?

       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.

101    INT. COTTAGE - NIGHT                                       101

       The cat turns its head to a sound Blomkvist can'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:

                               HARRIET V/O
                 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 ...

       He sets it down. Rubs his eyes. Everything - his
       daughter, his life, this cabin, the word of God - is
       depressing.
101A   INT. BJURMAN'S APARTMENT - DAWN                           101A
       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.
                               BJURMAN
                 I'll drive you home.
                               SALANDER
                 I can get home on my own.

                                 BJURMAN
                 Are you sure?

       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.

                               BJURMAN
                 So, next Saturday, here?
                                                               56.
                                                               56.
       

      She nods.   Leaves.   The door closes.

102   EXT. STOCKHOLM - DAWN                                     102

      A lone figure hobbles through the empty streets.
103   INT. SALANDER'S APARTMENT - DAWN                          103

      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.

104   INT. SALANDER'S APARTMENT - DAWN                          104

      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.
105   EXT. HEDEBY ISLAND - DAY                                  105

      Coming through trees with a bag of groceries, Blomkvist
      sees a BMW parked outside his cottage.

106   EXT. COTTAGE - MOMENTS LATER - DAY                        106

      Blomkvist taps on the car's fogged-up driver's window.
      A hand inside wipes at it, revealing Erika. She lowers
      it a crack.

                                ERIKA
                  Is it any warmer inside?
                                 BLOMKVIST
                  No.

107   INT. COTTAGE - DAY                                        107

      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.
                                BLOMKVIST
                  What have I missed besides you?
                                ERIKA
                  The steady exodus of two-thirds of
                  our advertisers.

                                 BLOMKVIST
                  Seriously?

                                ERIKA
                  Is that hard to believe? Sitting up
                  here in Lappland with your cat?
                                                                57.
                                                                57.
        

                               BLOMKVIST
                I'm not.   I'm working.

                                ERIKA
                I can see.
      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.

                              BLOMKVIST
                Would you like to meet him?

                              ERIKA
                Maybe in about an hour.      If you're
                interested.

      He is.
108   INT. VANGER MANOR - EVENING                                108

      Vanger and Martin all but ignore Blomkvist as they chat
      with Erika over dinner. They seem charmed by her.

                              VANGER
                I apologize if you're having
                financial problems at the magazine
                in Mikael's absence.
                              ERIKA
                We'll work through them.
                                VANGER
                Are you sure?

      Erika looks at Blomkvist, but he hasn't talked to them
      about this.

                              MARTIN
                How long do you think you can hang
                on? Six months or so?
                              ERIKA
                That sounds about right.

                              VANGER
                     (cheerfully)
                You know, I used to be in the
                newspaper business. We owned six
                dailies back in the 50's.
                              MARTIN
                We still own one. The Courier, here
                in town.
                                                          58.
                                                          58.
  

                         VANGER
           I let my nephew Birger run it since
           he can't run anything else.

Erika nods politely.
                         MARTIN
           So what do you say to taking on a
           partner?

                         ERIKA
           We've never considered it before.
           We value our independence.

                         MARTIN
           Your independence is dependant on
           advertisers - if we're being honest.
           However much you think that is, you'd
           retain. We don't care about content.

Blomkvist suddenly feels like someone coming late to a
party.

                          BLOMKVIST
           Excuse me.   Did I miss something?
                         VANGER
           We're talking about an investment in
           the magazine.
                           BLOMKVIST
           I gather.    Why would you want to do
           that?

                         MARTIN
           Not for the return, that's for sure.

                         VANGER
                (to Erika)
           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.

                          ERIKA
           And.
                         VANGER
           The enemies of my friends are my
           enemies. I hate Wennerstrom as much
           as you hate what he's done to you.
Silence.

                         VANGER
           So what do you say?
                                                                 59.
                                                                 59.
         

      Erika half-shrugs to say she'll consider it.

                                VANGER
                  Is that a maybe?
      She nods.

                                 VANGER
                  Wonderful!   More wine, Anna.

      Blomkvist looks at Erika, but she glances away to Vanger.



                                VANGER
                  I think Mikael is adapting well to
                  rustic life, by the way.
                                ERIKA
                  Have you seen him try to make a fire?

                                VANGER
                  Put the logs on end, like this.

      He makes a teepee shape with his hands, like praying.
109   INT. COTTAGE - LATER - NIGHT                                109

      Erika lights a teepee of logs in the fireplace.
                                BLOMKVIST
                  How long have you been discussing
                  this with them?
                                ERIKA
                  I haven't been. They asked me to
                  come up yesterday.

                                BLOMKVIST
                  Why didn't you tell me?
                                 ERIKA
                  Why would I.   You live in the woods.
                                BLOMKVIST
                  So I deserve to be treated like an
                  idiot?

                                ERIKA
                  I wanted to hear what they had to
                  say. You would've said no before
                  they could.
                                BLOMKVIST
                  I'm saying it now. It's not a good
                  idea.
                                                             60.
                                                             60.
     

                              ERIKA
                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.
                              BLOMKVIST
                You don't know this family.   They're
                crazy.

                              ERIKA
                We're not marrying into it.

                              BLOMKVIST
                We are if we do this. It's exactly
                what we're doing.

                              ERIKA
                You want to say no? Let's say no.
                Instead of 50 percent of something,
                let's own 100 percent of nothing.

      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.
                                 ERIKA O/S
                Mikael?

                                 BLOMKVIST
                What.

                              ERIKA O/S
                I'm leaving this God-forsaken island
                in the morning.
                                 BLOMKVIST
                So?

                              ERIKA
                So are you coming to bed or not.

110   INT. TATTOO PARLOR - DAY                                110

      Salander regards a selection of forearm tattoos: barbed
      wire, Celtic bands, strings of leaves and flowers.
                              TATTOO ARTIST
                You thinking one arm or both?
                              SALANDER
                Wrists and ankles. But none of
                these. Just a plain band, like
                handcuffs.
                                                               61.
                                                               61.
       

                              TATTOO ARTIST
                It's sensitive there. Particularly
                the ankles. It's gonna hurt.

      That doesn't bother her in the least. She rolls up her
      sleeves and watches him ready the tattoo gun.

                              SALANDER
                How much do one of those cost?

      TELEVISION IMAGE:

      A bland financial announcer reading the news. The
      graphic to the side of him is the distinctive V.I. logo
      of Vanger Industries.
                              ANNOUNCER
                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 -
111   INT. MILLENNIUM'S OFFICES - DAY                           111

      A news crew has crammed itself inside Erika's office,
      where a reporter interviews her -

                              ERIKA
                We made a serious mistake last year,
                and we regret it. But we're moving
                forward, and this is the first step.

                              REPORTER 2
                You wouldn't say the first step was
                your sacking of Mr. Blomkvist?

                              ERIKA
                That's inaccurate. Read the original
                press release, Viggo. I didn't fire
                him. He's on sabbatical.
                               REPORTER 2
                Where.

                              ERIKA
                I'm not sure, to be honest with you.

112   INT/EXT. COTTAGE - DAY                                    112

      He's at his desk, the cat in his lap, reviewing the
      album of photos taken on the day Harriet disappeared.
                                                                62.
                                                                62.
        

      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 -
113   EXT. VANGER MANOR - DAY                                    113

      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.

                              MARTIN
                Millennium is an excellent magazine.
                We also think it's undervalued right
                now, which is good business for us.

                              REPORTER 3
                Is any magazine really undervalued
                today. How many will be around
                tomorrow?

                              VANGER
                There's another reason.      I don't like
                bullies.
                              REPORTER 3
                Are you referring to Mr. Wennerstrom?
                              VANGER
                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.
                              REPORTER 3
                You're enjoying this.

                              VANGER
                Already it's the most fun I've had in
                years.

114   INT. HARDWARE STORE - STOCKHOLM - DAY                      114

      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 -
                                                                63.
                                                                63.
       

                              WENNERSTROM ON TV
                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.

      The report segues to another story.     The clerk hands
      Salander her receipt.
115   INT. SALANDER'S APARTMENT - LATER                          115

      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.
                                                              64.
                                                              64.
      

      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.

117   EXT. HEDESTAD - DAY                                      117

      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.

118   EXT. HEDESTAD - LATER - DAY                              118
      On the pay phone outside the gas station -

                               BLOMKVIST
                 I want to look at what the paper
                 has in its archive on the parade.

                               VANGER V/O
                 You already have what it has.    In
                 the album.

                               BLOMKVIST
                 I don't think so.

                              VANGER V/O
                 Why.
                               BLOMKVIST
                 Because no photographer at any
                 newspaper in the world takes just two
                 photos of anything - especially after
                 having to climb a flight of stairs.

                               VANGER V/O
                 The bridge accident happened during
                 the parade. He rushed over.
                              BLOMKVIST
                 Maybe.

      Silence.   Then -

                               VANGER V/O
                 Mikael, what have you found?
                                                              65.
                                                              65.
      

                               BLOMKVIST
                 Nothing probably. But I know
                 photographers. They're the most
                 insecure people on earth. If it's
                 out of focus, or they don't like
                 the framing, they bury it.
A119   EXT. HEDESTAD COURIER - ESTABLISHING                   A119

119    INT. HEDESTAD COURIER - DAY                                119

       Blomkvist follows the paper's youngish photo editor up
       narrow stairs to an attic.

                               PHOTO EDITOR
                 The current archive is on CD's,
                 naturally. The older stuff, still
                 negatives. What general period are
                 you interested in?

                               BLOMKVIST
                 September, 1966.

       She glances back at him. The date means something to
       her, but she chooses not to comment.

120    INT. COURIER ATTIC - DAY                                   120

       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.

                                  BLOMKVIST
                 Thank you.

       He waits for her to leave.    She seems reluctant to ...

                               PHOTO EDITOR
                 Is this about Harriet Vanger?
                               BLOMKVIST
                 You're too young to know about that.
                               PHOTO EDITOR
                 Everyone here grows up knowing about
                 her. It's how we're taught about
                 strangers.

121    INT. BJURMAN'S APARTMENT - STOCKHOLM - NIGHT               121

       The door opens revealing Salander. Bjurman seems a
       little surprised to see her at his doorstep.

                               BJURMAN
                 My dear Lisbeth, how are you?
                                                               66.
                                                               66.
       

                              SALANDER
                I need more money. I need to pay my
                rent.
      She looks like a schoolgirl with her little backpack over
      her shoulder. How did he ever get so lucky?

                               BJURMAN
                Come on in.

      She steps inside. He takes her hand and leads her
      toward the bedroom. Her other hand slips into her jacket
      pocket.

                              BJURMAN
                Since we're still figuring out what
                you like, I went shopping for some
                new toys.

                               SALANDER
                Me, too.

                                BJURMAN
                You, too?    What did you buy?

      She pulls a Taser from her pocket and jams it under his
      chin, firing off 75,000 volts -
122   EXT. COTTAGE - NIGHT                                      122

      Set down on the rugged landscape under an almost moonless
      night sky, the cottage looks vulnerable.

123   INT. COTTAGE - NIGHT                                      123
      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 isn'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.

124   OMIT - INT. BJURMAN'S APARTMENT - LATER - NIGHT           124
                                                              67.
                                                              67.
      

125   INT. COTTAGE - NIGHT                                     125

      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.
126   INT. BJURMAN'S APARTMENT - NIGHT                         126

      Bjurman slowly comes to.
                               SALANDER
                Good.   You're alive.

      It takes him a moment to realize it's true. Another to
      realize it might be better if he wasn'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.
                              SALANDER
                Recognize this?

      He cranes his neck to see she's by her backpack that's
      resting on a chair.
                                                        68.
                                                        68.


                        SALANDER
          I had it with me last time. I set
          it here. Remember?
               (he doesn't)
          See this snap? It's not a snap.
          It's a wide-angle micro-lens.

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.

                        SALANDER
          This shows you sodomizing a mentally
          impaired girl. If it's ever seen
          outside this room, who'll be
          institutionalized then?

He starts to whimper.
                        SALANDER
          Here's what's going to happen.
          Pay attention.

He can't. He can't even look at her. His life is over. He
weeps into the gag.
                        SALANDER
          Look at me.

He won'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.

                        SALANDER
          Do I have your attention now?

She does indeed. He vigorously nods his head, now, and
after everything she says -

                        SALANDER
          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 won'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.
               (he stares in horror)
                        (MORE)
                                                        69.
                                                        69.

                        SALANDER (CONT'D)
          If something happens to me - if
          I get hit by a car - if you hit me
          with a car - same thing, it uploads
          automatically.
She fishes his apartment keys from his trousers. Shows
him that she has them.
                        SALANDER
          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 -
His eyes dart to the TV as he nods that he understands.

                         SALANDER
          No.   Not the video.

She kicks him. Then straddles his fat gut and looks him
in the eye.

                        SALANDER
          I will kill you.
And he knows she means it.

                        SALANDER
          Do you doubt anything I've said?
               (he shakes his head no)
          Do you doubt what's in the reports
          about me? What do they say when
          you sum them up? They say I'm
          insane.
               (he shakes his head no)
          No, it okay. You can nod because
          it's true. I am insane.

She gets up off him, rummages through her backpack again.
                        SALANDER
          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.
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
isn't. It's something else he doesn't recognize. She
straddles him again. He squirms under her weight.

                         SALANDER
          Lie still.   I've never done this
          before.
                                                                70.
                                                                70.
        

       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.
                                SALANDER
                  There will be some blood.
       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 ...
A127   EXT. BJURMAN'S APARTMENT - DAWN - ESTABLISHING           A127

127    INT. BJURMAN'S APARTMENT - DAWN                           127

       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:

                             I AM A RAPIST PIG

128    OMIT:   EXT. HEDESTAD - DAWN                              128
129    OMIT:   INT. COTTAGE - DAWN                               129

129A   EXT. HEDEBY ISLAND - DAY                                 129A

       Returning from a walk and a smoke, Blomkvist sees -
       sitting outside the cottage, petting his cat - Harriet.
       Of course it can't be her, but it is a teenage girl who
       resembles the old pictures of her. Seeing him, she
       waves. It's his daughter.

                                  PERNILLA
                  Hi.
                                 BLOMKVIST
                  Hi.   What are you doing here?

                                PERNILLA
                  On my way to Skelleftea.    I can only
                  stay a couple hours.
       He arrives and gives her a hug.
                                                               71.
                                                               71.
       

                               BLOMKVIST
                 What's in Skelleftea?

                               PERNILLA
                 Light of Life Bible Camp.
       Blomkvist tries to hide his dismay.
129B   INT. COTTAGE - DAY                                      129B

       He's made them some coffee, and, of course, sandwiches.
       Patiently waits for her to finish her silent prayer, and
       smiles bravely.
                               PERNILLA
                 They're not dangerous.

                               BLOMKVIST
                 It's fine, Nilla. Whatever you
                 want to do is fine. Everybody needs
                 something.

                               PERNILLA
                 Just so long as it's not God.

                               BLOMKVIST
                 I didn't say that.

       As they eat in silence, Blomkvist can't help but think
       about Harriet and what Vanger said about not giving her
       his attention when she needed it.

                               BLOMKVIST
                 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.

                               PERNILLA
                      (smiles)
                 That's what I'm doing.

129C   EXT. TRAIN STATION - HEDESTAD - DAY                     129C
       The afternoon train is boarding.    It's not crowded.

                               BLOMKVIST
                 It should have been me visiting you.
                 I'm sorry.

                                PERNILLA
                 It's okay.   Everything's good.
                                                             72.
                                                             72.
     

      He nods but doesn't believe it any more than she believes
      he's okay with Bible Camp. She climbs aboard. Waves.

                              PERNILLA
                Bye.
                              BLOMKVIST
                Bye.
      The train begins to move.

                              PERNILLA
                Don't go too hard on the Catholics.

                              BLOMKVIST
                What?
                              PERNILLA
                The article you're writing.
                              BLOMKVIST
                What are you talking (about) -

                              PERNILLA
                The Bible quotes on your desk.

                              BLOMKVIST
                What?

      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?

130   INT. COTTAGE - LATER - DAY                              130
      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:

                              HARRIET V/O
                If a dove is the sinner's offering,
                the priest shall wring off its head,
                cleave its wings, and burn it upon
                the altar.
                                                                73.
                                                                73.
       




131   EXT. COTTAGE - DAY                                         131

      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.
132   EXT. HEDESTAD - DAY                                        132

      Back across the bridge by the gas station, he makes the
      call on the pay phone.
                              BLOMKVIST
                Detective Morell, it's Mikael
                Blomkvist.

                              MORELL O/S
                How are you? Not still in Hedestad I
                hope for your sake.

                              BLOMKVIST
                The Rebecka Case you mentioned.
                What was her last name if you recall.

                              MORELL O/S
                Of course I do, but what would it
                have to do with anything?

                              BLOMKVIST
                Nothing probably.

      As Blomkvist glances to the last page in Harriet's
      address book, to R.J. 30114 -

                               MORELL O/S
                Jacobsson.   Rebecka Jacobsson.

                              BLOMKVIST
                How was she killed?
                               MORELL O/S
                Decapitated.   Arms cut off.    Burned.

      Like the Leviticus dove. A siren.      Ambulance coming
      past, headed for the bridge.

                              MORELL O/S
                But this happened in the 1940's -
                              BLOMKVIST
                Hang on a second.

      He watches the ambulance speed across the bridge.
                                                               74.
                                                               74.
       

                              BLOMKVIST
                I'm going to call you back.

                              MORELL O/S
                What have you (found) -
      Blomkvist hangs up and takes off at a trot toward the
      bridge -
133   EXT. VANGER MANOR - LATER                                 133

      He reaches the manor just as the ambulance is leaving
      and Martin is climbing into his Range Rover. He looks
      undone.

                              BLOMKVIST
                What's happened?
                              MARTIN
                We were talking. He started
                rubbing at his arm. Then collapsed.

                              BLOMKVIST
                Is he (conscious) -
                              MARTIN
                I can't talk, Mikael, I have to (go) -
                               BLOMKVIST
                Go.

      Martin pulls out to follow the ambulance to the hospital.
      Blomkvist watches after them.

134   INT. COTTAGE - EVENING                                    134
      The cat naps while Blomkvist looks up the other Leviticus
      quotes from Harriet's list in her dog-eared Bible -

                              HARRIET V/O
                The daughter of any priest who
                profanes herself by playing the
                harlot, profanes her father, and
                shall be burned with fire -
                              HARRIET V/O
                A woman who is a medium or sorcerer
                shall be put to death by stoning -

      There's a knock. He tucks the list in the Bible, sets
      aside and answers the door. Frode comes in.
                              FRODE
                The good news is he survived. How
                he does now, we have to see. He's in
                ICU. Can I have one of those?
                                                          75.
                                                          75.
  

He points to the table.

                          BLOMKVIST
           A sandwich?
                          FRODE
           A Scotch.
Blomkvist pours him one, and another for himself.

                         BLOMKVIST
           I don't want to be indelicate. But
           Henrik promised me something when I
           agreed to do this.
                          FRODE
           Wennerstrom.
                         BLOMKVIST
                (nods)
           I need to know what he has on him.
           Now. In case.

                         FRODE
           In case he dies? That is indelicate.
                         BLOMKVIST
           And I apologize.

                         FRODE
           I don't know what he has on him, if
           you're asking me. And he can't tell
           you in the condition he's in. So ...
           is that it then?
Silence.   Blomkvist drinks.   Eventually -

                         BLOMKVIST
           We also never discussed who I'd
           report to if something happened to
           him.

                         FRODE
           You'd report to me, but does it
           matter? We both know nothing's going
           to come of this.
                         BLOMKVIST
           I'm not so sure.

Frode looks at Blomkvist a little more intently.
                         FRODE
           What do you mean?
                                                        76.
                                                        76.


                        BLOMKVIST
          I may have found something.

                        FRODE
               (pause)
          You're joking.
               (Blomkvist isn't)
          What did you find?
Now it's Blomkvist who studies Frode. He's not sure he
wants to tell him. And even less so the longer he looks.

                        BLOMKVIST
          The last time I reported something
          before I was sure of it, it cost me
          my savings.

Frode studies him again - wondering perhaps if Blomkvist
suspects him.
                        BLOMKVIST
          I need a research assistant.     Can you
          authorize that?

                         FRODE
          Yes.   Do you have one?
                        BLOMKVIST
          I can find one.

                        FRODE
          I know a good one. She did the
          background check on you.

                        BLOMKVIST
          The.

                        FRODE
          Do you think we'd hire anyone for
          something like this without doing
          one?
Blomkvist's brain tries to quickly inventory his life,
pausing at its darker recesses. Frode nods.

                        FRODE
          Yes, it was quite thorough.
                        BLOMKVIST
          I want to read it.
                        FRODE
          That I couldn't authorize.
                                                              77.
                                                              77.
      

      Blomkvist isn'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.
135   EXT. STOCKHOLM - DUSK                                    135
      Only a few lights on in the Milton Security building.

136   INT. ARMANSKY'S OFFICE - DUSK                            136

      It isn't often a subject of an investigation shows up in
      his office, but is always awkward when one does.
                               BLOMKVIST
                 Mr. Frode was kind enough to share
                 your report with me.
                      (it rests on his lap)
                 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.

                               ARMANSKY
                 Would it really matter what her name
                 is?

                               BLOMKVIST
                 It would if I wanted to speak to her,
                 which I do.
                               ARMANSKY
                 Against policy.
                               BLOMKVIST
                 You sure?

                               ARMANSKY
                 Just like your sources.   You
                 understand.
                               BLOMKVIST
                 Let me give you a name then.

      He jots "Annika Giannini" on one of Armansky's Post-Its.

                               BLOMKVIST
                 My sister. She's a lawyer.
                      (gestures to the report)
                 There's information in here that
                 could only have come from one place.
                 I think you know what I mean.

      Silence.   Armansky tries not to look sick.    Then -
                                                               78.
                                                               78.
       

                              ARMANSKY
                The reason you can find no record of
                her is because her records have been
                sealed. She's a ward of the State.
                              BLOMKVIST
                What does that have to do with
                anything.
                              ARMANSKY
                She's had a rough life.     Can we not
                make it rougher on her?

      Blomkvist just sits there, the picture of calm ...
137   INT. THE MILL - STOCKHOLM - NIGHT                         137

      Cacophony of loud techno and a fringe clientele. Alone
      at a table drinking, Salander seems comfortable with the
      noise and her dateless status, but doesn't avoid a glance
      from an Asian girl at the bar, and doesn't tell her to go
      away when she comes over and motions to the empty chair.
138   INT. SALANDER'S APARTMENT - MORNING                       138

      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.

                               SALANDER
                Who is it?
                              BLOMKVIST O/S
                Mikael Blomkvist.
      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.
                              BLOMKVIST
                May I come in?
                              SALANDER
                Actually I'm not really up (yet) -

                               BLOMKVIST
                That's okay.
                                                                79.
                                                                79.
        

      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.

                              BLOMKVIST
                I assumed you wouldn't have had
                breakfast yet so I brought some bagel
                sandwiches. And tomato juice. Good
                for hangovers. Where do you keep the
                coffee?
                              SALANDER
                Hey.  Hey -
                     (he stops; looks back)
                Who do you think you are?
                              BLOMKVIST
                I'm the guy you know better than my
                closest friends do.
      He opens cabinets looking for the coffee.       She stares.

                              BLOMKVIST
                We have a lot to talk about, so why
                don't you take a shower, put on some
                clothes and get rid of your
                girlfriend.
139   INT. SALANDER'S APARTMENT - LATER                             139

      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.
                                BLOMKVIST
                You're awake.    Good. Breakfast is
                ready.

      He pours her, and then himself, coffee.
                              BLOMKVIST
                I guess I alarmed you showing up like
                this.
                              SALANDER
                If you touch me, I'll more than alarm
                you.

                              BLOMKVIST
                That won't be necessary.

      He smiles. His eyes are not unkind.       As he helps himself
      to one of the bagels -
                                                              80.
                                                              80.
      

                              BLOMKVIST
                Your report on me was quite detailed
                but for me not very entertaining.

      A copy of it sits next to his plate.
                              SALANDER
                It wasn't meant to be.
                              BLOMKVIST
                When I write about people, I try to
                entertain the reader.

                              SALANDER
                Wennerstrom wasn't entertained.
      Blomkvist lets it go.
                              BLOMKVIST
                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.
                     (they study each other)
                I'm not going to do anything about
                that. I could but I won'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 doesn't, I'll wash
                the dishes and leave ... Are you
                going to even touch your food?

                              SALANDER
                What kind of research?
                              BLOMKVIST
                Lisbeth - may I call you Lisbeth? I
                want you to help me catch a killer of
                women.

140   INT. SALANDER'S APARTMENT - LATER - DAY                  140
      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.

                              BLOMKVIST
                I've identified R.J. Her name's
                Rebecka Jacobsson.
                              (MORE)
                                                                 81.
                                                                 81.
        
                              BLOMKVIST (CONT'D)
                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.
      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.

                              BLOMKVIST
                We need to somehow figure out who
                they are, what happened to them, what
                the Leviticus verses have to do with
                (anything) -

      She gets up, goes to her desk, begins jotting something
      down, ignoring him.
                              BLOMKVIST
                What are you doing?

                              SALANDER
                Getting started. You can keep
                talking if you want.
      Blomkvist, slightly taken aback, picks up the Leviticus
      Xerox from the floor.
                              BLOMKVIST
                Would you like this?

                                 SALANDER
                Got it.

      That's what she's jotting down, from memory: the names,
      initials and Leviticus numbers. She wakes her laptop -

141   EXT. THE BRIDGE - NIGHT                                     141

      Hussein's taxi brings Blomkvist across to the island.

142   OMIT - INT. COTTAGE NIGHT                                   142

143   EXT/INT. COTTAGE - NIGHT                                    143
      He gets out with his satchel.     Whistles for the cat -

                                 BLOMKVIST
                I'm home.

      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.
                                                                 82.
                                                                 82.
         

        Nothing has been disturbed as far as he can tell, but
        someone has been in here.
143A    OMIT - 143A - 161A                                       143A
161AA   INT. SALANDER'S APARTMENT - DAY                          161AA

        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 (or various
        county newspapers' databases).
        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



161AB   INT/EXT. COTTAGE - DAY - (PLACEMENT CHANGE ONLY)         161AB

        Blomkvist watches a Hedestad locksmith install a dead-
        bolt on his front door.
161AC   EXT. STOCKHOLM - NIGHT                                   161AC

        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.
                                                                 83.
                                                                 83.
         

161AD   EXT. VARMLAND - SWEDEN - DAWN                            161AD

        Salander's Honda races past a pastoral agricultural
        landscape.
161B    EXT. POLICE STATION - ESTABLISHING - MORNING             161B
161C    INT. POLICE STATION - KARLSTAD - MORNING                 161C

        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.

                                DET. ISAKSSON
                  No one's asked me about Magda in over
                  40 years. No one here even remembers
                  her.

        He waits for her to say something, but she doesn't seem
        to understand conversational dynamics, so it's up to him.

                                DET. ISAKSSON
                  Why would a young lady like you want
                  to know about such a brutal killing.
                                SALANDER
                  It interests me.

                                 DET. ISAKSSON
                  Does it.

        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.

                                 DET. ISAKSSON
                  What's that.   A wasp?
                                SALANDER
                  A friend of mine calls me that.

                                DET. ISAKSSON
                  So you tattoo it on your neck?

        He'd be horrified if one of his grandchildren did that,
        but she just shrugs like it's no big deal.
                                DET. ISAKSSON
                  Who's this friend?

                                 SALANDER
                  My trainer.

                                 DET. ISAKSSON
                  Aerobics?
                                                                84.
                                                                84.
        

                                  SALANDER
                 Boxing.

       Hard for him to picture.    But, upon reflection -
                               DET. ISAKSSON
                 I have a feeling you're pretty good
                 at that, even though you weigh - what
                 - ninety pounds?
                      (nothing from her)
                 Float like a butterfly ...

                                  SALANDER
                 What?
                               DET. ISAKSSON
                      (smiles)
                 Come with me, Muhammad.
161D   INT. KARLSTAD POLICE FILE ROOM - DAY                     161D

       The old man rummages through an old file cabinet.
                               DET. ISAKSSON
                 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 -

       He pulls a thick, yellowed folder out and sits with it
       and her at a table.
                                 DET. ISAKSSON
                 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.
       And that troubles him still, that he never solved it.

                               SALANDER
                 How exactly was she killed?

                               DET. ISAKSSON
                 Miss - I'm sorry -

                                  SALANDER
                 Salander.
                               DET. ISAKSSON
                 Miss Salander, if you don't mind my
                 asking, when's the last time you ate?
                                                                 85.
                                                                 85.
         

                               SALANDER
                 I have a high metabolism.      I can't
                 put on weight.

                               DET. ISAKSSON
                 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.
       He pushes the folder across the table to her ...
161E   OMIT - 161E - 161I                                        161E

161J   INT. HEDESTAD HOSPITAL - DAY                              161J

       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.
                               BLOMKVIST
                      (to Frode)
                 How is he?

       Frode takes Blomkvist aside.

                               FRODE
                 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.

       He glances over to them.    Isabella's staring back.

                               FRODE
                 How'd it go with Ms. Salander?

                                  BLOMKVIST
                 She said yes.

       Isabella gets up to come over -
                               BLOMVIST
                      (to Frode)
                 Can I see Henrik?

                               FRODE
                 He was asleep when I last looked in.
                 We can check.
                                                        86.
                                                        86.


                        ISABELLA
          No, you can't check. You can
          instruct him to pack his things and
          leave.
                        MARTIN
          Mother -
                        ISABELLA
          Don't use that tone with me.
               (to Blomkvist)
          This family's had enough tragedy
          without you dredging it all up again.

                        FRODE
          Actually, Isabella, Mr. Blomkvist
          works for Henrik.
                        ISABELLA
          And who do you work for, Dirch?
          Remind me who pays your salary?

                        BIRGER
          We should put this to a vote.

                        MARTIN
          Don't be an idiot, Birger.

                        BIRGER
          It's a family decision like any
          other. Cecilia?

                        CECILIA
          What.
                        BIRGER
          Am I right?

                        CECILIA
          You are so seldom right about
          anything, it's hard for me to say
          yes. But (yes) -

                        MARTIN
          No. We should do what Henrik wants,
          and we know what he wants.
                        ISABELLA
          Henrik - is in there fighting for
          his life. This -
               (points to Blomkvist like
                he's an object)
          - is the last thing he needs.

A nurse chooses this - the absolute worst time - to
approach Isabella.
                                                                 87.
                                                                 87.
         

                               NURSE O/S
                 Excuse me, Mrs. Vanger, you can't
                 smoke in here.

       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.
                               ISABELLA
                 Go back to Stockholm. When we want a
                 false chronicle of the family written
                 by a libelist, we know who to call.
161K   INT. HOSPITAL ROOM - DAY                                  161K

       As Frode guessed, Henrik is asleep, wired up to monitors,
       and doesn't stir as Blomkvist looks in on him.
161L   EXT. YOUTH HOSTEL - NIGHT                                 161L

       Salander's motorcycle parked outside.
161M   INT. YOUTH HOSTEL - NIGHT                                 161M

       As young travelers with huge backpacks try to sleep
       around her, Salander reads to herself from a Bible by
       flashlight. Leviticus 4:32 -

                               HARRIET/PERNILLA
                 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.

162    EXT. UDDEVALLA- DAY                                        162

       Another police station.

162A   INT. KARLSTAD POLICE STATION - DAY                        162A

       Det. Isaksson is on the phone -
                               DET. ISAKSSON
                 Forget what she looks like, I vouch
                 for her -
163    INT. POLICE STATION - UDDEVALLA - DAY                      163

       Another old police detective has Salander's credentials
       and a phone in hand -

                                  DET. ISAKSSON O/S
                 She's smart.     And she's serious about
                 this.
                                                                 88.
                                                                 88.
         

       The old Uddevalla detective regards Salander waiting at
       the counter. Into the phone -

                                UDDEVALLY DETECTIVE
                       (convinced but just barely)
                  All right. Thanks.

       He hangs up.   To Salander -
                                UDDEVALLA DETECTIVE
                  This way, Miss.

       He escorts her to the file room.
A164   OMIT - EXT. POLICE STATION - FARSTA ESTABLISHING          A164

164    INT. FILE ROOM - POLICE STATION - UDDEVALLA - DAY          164
       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
       don't see them.

                                SALANDER
                  Can I make copies?
                                UDDEVALLA DETECTIVE
                  I can make them for you if our
                  machine's been repaired.
                                 SALANDER
                  That's okay.

       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.

164A   OMIT:   INT. COTTAGE - EVENING                            164A

165    INT. COTTAGE - EVENING                                     165

       Blomkvist considers Birger's photo on his wall: Brother
       of Cecilia, son of Harald the Nazi, 21-years-old when his
       cousin Harriet disappeared ...
166    EXT. COTTAGE - EVENING                                     166
       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.

                                MARTIN
                  My family is impossible. It's why
                  the company is such a mess.
                                (MORE)
                                                         89.
                                                         89.
 
                        MARTIN (CONT'D)
          Please accept my apology for my
          mother's behavior.

                        BLOMKVIST
          It's all right.
                        MARTIN
          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.
And he seems as lost now as he must have been then.

                        MARTIN
          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.
                         BLOMKVIST
          I'll (try) -

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.

                        BLOMKVIST
          Lisbeth, this is Martin Vanger.

                        MARTIN
          How do you do.
                         SALANDER
          Fine.
She comes past them without another word. Martin can'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:

                         MARTIN
          Girlfriend?
                                                              90.
                                                              90.
      

                               BLOMKVIST
                 Assistant.
166A   INT. COTTAGE - MOMENTS LATER                           166A

       Blomkvist comes in as Martin drives off. Salander is
       already unpacking her things - laptop, charger, change of
       clothes. What's she doing, moving in?

                               BLOMKVIST
                 Any trouble finding the place?

                               SALANDER
                 Everyone in town knows who and where
                 you are.
                               BLOMKVIST
                 That's comforting. Are you hungry?
                 Want a sandwich?

                               SALANDER
                 No.
       Busy setting up her laptop on his desk, starting it up,
       sitting down at it, she's all but ignoring him.
                               BLOMKVIST
                 I used to have a motorcycle.    When I
                 was 19.

                               SALANDER
                 I know.
       She hands him her own dog-eared Bible and a copy of the
       list of names and initials he gave her -

                               SALANDER
                 The five cases from Harriet's
                 list. And five more she missed -
                 three I'm sure about.

       Five more? Blomkvist stares at her but she's turned back
       to her laptop, bringing up police reports and crime scene
       photos.
                               SALANDER
                 Rebecka was the first, like you
                 thought ... M.H., is Mari Holmberg
                 - a prostitute in Kalmar - murdered
                 in 1954. Leviticus verse 20, line
                 18.
                                                        91.
                                                        91.
                       Dragon Tattoo Final 9/1/11 SZ

                        BLOMKVIST
               (reading from it)
          "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."

Blomkvist doesn't see a connection.
                        SALANDER
          She was raped and stabbed, but the
          cause of death was suffocation with a
          sanitary napkin. R.L. Rakel Lunde,
          1957 -
Salander brings up more crime photos -

                        SALANDER
          Cleaning woman and part-time palm
          reader, tied up with a clothesline,
          gagged, raped, head crushed with a
          rock. Leviticus 20:27.

                        BLOMKVIST
          "A woman who is a medium or sorcerer
          shall be put to death by stoning."
She's lit a cigarette and brings up the next photos -

                        BLOMKVIST
          I only smoke outside.

                        SALANDER
               (ignoring the comment)
          Sara Witt, 1964. Daughter of a
          pastor. Tied to her bed, raped,
          charred in the fire that burned
          down her house. Leviticus -

                        BLOMKVIST
          21:9. "The daughter of any priest
          who profanes herself by playing the
          harlot, profanes her father and
          shall be burned with (fire) -

                        SALANDER
               (on top of his last word)
          Magda Lovisa Sjoberg, 1960 -

Several photos of a dead woman and dead cow -
                        SALANDER
          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.
                                                             92.
                                                             92.
     

                              BLOMKVIST
                Leviticus 20:16 - "If a woman lies
                with any beast, you shall kill the
                woman and the beast, their blood is
                upon (them) -
                              SALANDER
                     (again on his last word)
                Lea Persson, 1962 -

      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.

                              SALANDER
                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.
      Before Blomkvist can find the verse, she's on to the next
      ones. More photos of murdered girls -

                              SALANDER
                Eva Gustavsson, 1960. A runaway.
                Raped, strangled, a burnt pigeon
                tied around her neck. Lena
                Andersson, 1967, a student. Raped,
                stabbed, decapitated -
                              BLOMKVIST
                Okay -

                              SALANDER
                I'm not done -
                              BLOMKVIST
                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?

      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 -

                              SALANDER
                She was looking for him, too.

167   OMIT - INT. COTTAGE - NIGHT                             167
                                                              93.
                                                              93.
     

168   EXT. COTTAGE - LATER - NIGHT                             168

      The silence they just left has followed them out here.
      The island, more than ever, feels haunted as Blomkvist
      looks off, smoking.
                             BLOMKVIST
                Rape. Torture. Fire. Animals.
                Religion. Anything I'm missing?
                              SALANDER
                The names. They're all Biblical.
                The first woman, the whore, the
                Virgin Mary - Sara, Rakel - all from
                the Old Testament.

                              BLOMKVIST
                Which means they're Jewish names.

      He glances off to Harald's dark house.
                              BLOMKVIST
                If there's one thing the Vangers have
                more than their share of, it's Nazis.
                There's one of them.

      The Nazi's shadowy form crosses behind the shades ...
169   INT. COTTAGE - LATER - NIGHT                             169

      He pokes at embers in the fireplace to try coax some
      flames.

                              BLOMKVIST
                I can see why Armansky values you so
                highly. Your work is very good.
                              SALANDER
                It interests me.

      He takes a blanket from the back of a chair.
                              BLOMKVIST
                I'll take the couch. You can have
                the bed.

                              SALANDER
                I can sleep on a couch.
                              BLOMKVIST
                So can I.

      She takes the blanket from him and sits with it on the
      couch. He watches her a moment.
                                                                94.
                                                                94.
        

                                BLOMKVIST
                 Okay.
                      (heads off to the bedroom)
                 Good night.
                                SALANDER
                 Night.
       She switches off the lamp.   Then, in a moment, in the
       dark -

                               SALANDER
                 Harriet's name isn't.

                                BLOMKVIST
                 Isn't what.

                                SALANDER
                 Jewish.
A170   EXT. COTTAGE - MORNING - ESTABLISHING                    A170
170    INT. COTTAGE - MORNING                                    170

       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.

                               BLOMKVIST O/S
                 What are you doing?

       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.
                               SALANDER
                 Going over your notes.
                               BLOMKVIST
                 They're encrypted.

       She gives him a don't-be-a-child look.

                               SALANDER
                 Have some coffee.
                               BLOMKVIST
                 I will. And then we'll have a talk
                 about what's yours and what's mine.

       Blomkvist drags himself up, pours himself some coffee,
       adds some milk.
                                                          95.
                                                          95.
                       Dragon Tattoo Final 9/1/11 SZ

                        SALANDER
          It's amazing what you figured out
          from the parade photos.

                        BLOMKVIST
          Thank you.

                        SALANDER
          Too bad you don't have hers.

                        BLOMKVIST
          Whose.

She doesn'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.
                        SALANDER
          Her.

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 didn'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.
                        BLOMKVIST
          Excuse me.

He takes over his laptop from her, finds the later
Courier photos he didn'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.

                        BLOMKVIST
          Can you read that?
                        SALANDER
          A, C, Three - the rest is blocked.
                                                               96.
                                                               96.
       

       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 -

                                SALANDER
                  N, something, R, S, J -

                                BLOMKVIST
                  Norsjo.

                                SALANDER
                  Then something, K, something, R, I,
                  F, something, I -

                                BLOMKVIST
                  Carpentry.
                       (points below the letters)
                  Is that a phone number?
                                SALANDER
                  Too small to read.

       He gets up. Heads for the front door to smoke his
       cigarette outside -

                                BLOMKVIST (ADR)
                  I'm going to have to go to Norsjo.

       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 ...
171    OMIT:   EXT. COTTAGE - MORNING                           171

172    OMIT:   INT. FRODE'S HOUSE - DAY                         172
172A   INT. HEDESTAD HOSPITAL CAFETERIA - DAY                  172A
       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.

                                BLOMKVIST
                  I wouldn't think Harald would sign
                  his name like this, would you?
                                                                 97.
                                                                 97.
       

                                FRODE
                  I can't say I know how he thinks.    He
                  might.

                                BLOMKVIST
                  Has anyone spoken to him about me
                  since I've been here?
                                FRODE
                  Maybe Isabella. No one else.

                                BLOMKVIST
                  Could she do something like this?

        Frode glances off to her.   She's staring at Salander.
        And turns to Birger.

                                ISABELLA
                  Who's this creature now?

        Frode takes one more look at the photos before -

                                FRODE
                  I'm calling this off.

                               BLOMKVIST
                  No. You're authorizing me to rent
                  a car.
172AA   INT. HOSPITAL - LATER - DAY                            172AA

        Blomkvist and Salander coming down a corridor on their
        way out.
                                BLOMKVIST
                  I'm sorry if that was uncomfortable.

                                SALANDER
                  They don't bother me.
                                BLOMKVIST
                  I'm sure they're not used to people
                  who look like you.
                                SALANDER
                  They don't like you either.

172B    EXT. HIGHWAY - DAY                                       172B

        A car and a motorcycle split apart at an interchange -
        the Volvo to the north, Salander's Honda to the south.

173     EXT. STOCKHOLM - DAY                                      173

        Salander pulls her Honda into an underground garage.
                                                                 98.
                                                                 98.
         

174    INT. MILTON SECURITY - DAY                                 174

       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.

                               TECH CLERK
                 I can't give you any of this
                 stuff without authorization from
                 Mr. Armansky.

                                 SALANDER
                 So call him.
       The clerk picks up a phone, but then sets it back down.
       Picks up the list again.
                               TECH CLERK
                 Next time, I'd prefer you fill out
                 the proper paperwork.
A175   EXT. HIGHWAY - DAY                                        A175

       A Volvo speeds along a rural highway, far from Hedestad
       and the Vangers.

175    INT. VOLVO - MOVING - DAY                                  175

       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

175A   EXT/INT. HIGHWAY / VOLVO - DAY                            175A

       A POV through the windshield of a highway sign alerts him
       the Norsjo exit is coming up.
176    EXT. NORSJO - DAY                                          176
       The main street of a very small town. The Volvo pulls to
       a stop outside its only hardware store.

177    INT. HARDWARE STORE - DAY                                  177

       An ancient place with narrow aisles crammed with stuff.

                               CLERK 1
                 Can I help you?
                                                                99.
                                                                99.
        

       The clerk - for what Blomkvist needs - is too young.

                               BLOMKVIST
                 I'm waiting for the older gentleman,
                 thanks.
       He gestures to a clerk in his 60's helping a customer.
178    INT. HARDWARE STORE - LATER                               178

       The older clerk looks at the parade photo of the couple.

                               BLOMKVIST
                 The carpentry shop is gone. I don't
                 know if he worked there or not. If he
                 did, maybe he used to buy hardware
                 here.

                               CLERK 2
                 I don't recognize him.      Sorry.

                               BLOMKVIST
                 I had to start somewhere.      Thanks.
       As he gathers up the photos to leave -

                               CLERK 2
                 I'm no detective, but I think I
                 would've started at the retirement
                 home.
       Blomkvist looks up.    Not a bad idea.

178A   INT. SALANDER'S APARTMENT - STOCKHOLM - DAY              178A
       Salander checks a `mirror' of Bjurman's computer on her
       laptop. Skims one of the monthly reports she instructed
       him to write.

A179   EXT. RETIREMENT HOME - NORSJO - ESTABLISHING             A179

179    INT. RETIREMENT HOME - NORSJO - DAY                       179

       A group of elderly men and women in a rec room pass
       Blomkvist's photos around. One old man offers -
                               FORSMAN
                 This is Brannlund's kid.       He was a
                 contractor, the father.

                                 BLOMKVIST
                 Brannlund.

                                 FORSMAN
                 Assar.
                                                               100.
                                                              100.
      

       Blomkvist writes the name down.

                               BLOMKVIST
                 You wouldn't happen to know where I
                 could find him, the son?
                               FORSMAN
                 Next to his father at the cemetery.
                 He was killed in an accident on a job
                 site years ago. But she might be
                 alive -
                      (the woman in the picture)
                 His widow.

A180   EXT. BRANNLUND HOUSE - ESTABLISHING                     A180

180    INT. BRANNLUND HOUSE - DAY                               180
       She is still alive, and sitting across from Blomkvist in
       her living room as he takes out his photos -
                               BLOMKVIST
                 In 1966, you were in Hedestad with
                 your husband.

       He shows her one of the photos.
                               MILDRED
                 Oh, my goodness, there we are.     Who
                 took this?
                               BLOMKVIST
                 Photographer at the local paper.

       She smiles at the picture; it brings back good memories.

                               BLOMKVIST
                 You were taking pictures, too. Which
                 I'd very much like to see if by some
                 miracle you still have them.
                               MILDRED
                 It wouldn't be a miracle.    We were on
                 our honeymoon. But why?

       Blomkvist thinks about making something up.     Decides not
       to. Indicates Harriet in the photo -
                               BLOMKVIST
                 This girl was killed that day, soon
                 after seeing something across the
                 street that frightened her.

                               MILDRED
                 How awful.
                                                                101.
                                                               101.
       

      Blomkvist nods; Mildred takes a closer look at the photo.

                                 MILDRED
                   She does look terrified.
      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 -

                                 BLOMKVIST
                   Would you mind if I made a copy of
                   this?
181   EXT. BJURMAN'S OFFICE BUILDING - LATE AFTERNOON            181

      Establish.
182   INT. BJURMAN'S OFFICE BUILDING - LATE AFTERNOON            182

      He gets in the elevator without really looking at the
      figure already in it.

                                 BJURMAN
                   Ground, please.
      A finger presses it.    The doors close and the elevator
      starts down.

                                 SALANDER
                   How's your sex life?

      Bjurman, terrified, backs into a corner. She presses a
      button and the elevator jerks to a stop between floors.

                                 SALANDER
                   I didn't care much for your last
                   report.
                        (which she has in hand)
                   It felt perfunctory, like your heart
                   wasn't in it. Let's see a little
                   more enthusiasm for my recovery in
                   next month's.
                                 BJURMAN
                   I under(stand) -
                                SALANDER
                   Don't speak. I don't want to hear
                   your voice. Just nod.

      He nods.
                                                              102.
                                                             102.
     

                               SALANDER
                 Start looking for a shrink you can
                 bribe to swear under oath he can find
                 absolutely nothing wrong with me.
      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.

                               SALANDER
                 And stop visiting tattoo removal
                 websites or I'll do it again - right
                 here.

      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.

183   INT. COTTAGE - LATE AFTERNOON                             183

      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.

184   EXT. STOCKHOLM - LATE AFTERNOON                           184

      Salander blasts onto the highway headed north.

185   INT COTTAGE - AFTERNOON                                   185

      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 -
                                                               103.
                                                              103.
      

186   EXT. HEDEBY ISLAND - LATE AFTERNOON                       186

      The boathouse   hasn'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.
187   INT. CABIN - LATER - LATE AFTERNOON                       187

      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 weren'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.
188   EXT. HEDEBY ISLAND - LATE AFTERNOON                       188

      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 can'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.
                                                               104.
                                                              104.
      

189   INT/EXT. COTTAGE - EVENING                                189

      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.
190   OMIT:   EXT.   HEDEBY ISLAND - EVENING                    190
191   INT/EXT. COTTAGE - NIGHT                                  191

      A figure appears on a quadrant of Salander's surveillance
      PC. Comes past the motorcycle and nearly reaches the
      porch before she hears -
                                 BLOMKVIST O/S
                 It's me.

      She opens the door to see him covered in blood, pressing
      a torn piece of his shirt to his bleeding head - and
      almost gasps.

                               BLOMKVIST
                 It's that bad?
192   INT. COTTAGE - NIGHT                                      192

      She turns the bathtub's hot water tap -
                               BLOMKVIST
                 Is it still bleeding?
                      (touches the wound)
                 It's still bleeding ... why is it
                 still bleeding ...
      She pulls a length of dental floss from its case -

                               BLOMKVIST (ADR)
                 Is that dental floss?

                                 SALANDER
                 Yes.
      Splits it in two thinner lengths with her chewed finger
      nails -

      Feeds one of the lengths of floss through the eye of a
      needle -

                               BLOMKVIST
                 What is that -
                      (he can see it's a needle)
                 Is that necessary?
                                                                105.
                                                               105.
       

                                SALANDER
                 Yes.

                               BLOMKVIST
                 We can't just tape it?
                                SALANDER
                 No.
       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.

                               BLOMKVIST
                 Did you sterilize that?
                                SALANDER
                 No.
                                BLOMKVIST
                 You didn't?

       She splashes some of the vodka on the needle. Most of it
       goes in the water. Hands the bottle back to him.

                               SALANDER
                 Drink some more.
       He takes a swig from the vodka bottle. She reaches to his
       face with the needle and floss -

                               BLOMKVIST
                 Careful, it's my eye.

                                SALANDER
                 Don't move.

       It takes all he's got not to move, and even that isn'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 doesn'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.

192A   INT. COTTAGE - A FEW MINUTES LATER - NIGHT               192A

       He comes out of the bathroom in his soaking wet pants and
       collapses on the bed. She works to pull his pants off.
                                                                  106.
                                                                 106.
         

                                BLOMKVIST
                  What am I doing here ... why did I
                  ever come up here ...

       He touches the wound and looks at his fingers -
                                BLOMKVIST
                  It's too dark to see ... did it stop
                  bleeding ... I think maybe it has ...
                  it still fucking hurts ...
192B   INT. COTTAGE - A FEW MINUTES LATER - NIGHT                 192B

       She regards the surveillance monitor, the night-vision
       views of the cottage. She can'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.

193    INT. COTTAGE - MOMENTS LATER - NIGHT                        193
       She comes into the bedroom in her t-shirt and underwear.
       He's still muttering without looking at her.
                                BLOMKVIST
                  It wasn't an accident ...
                  Somebody was shooting at me ...
                  It's insane ... these people are
                  insane ...
                                SALANDER
                  No one's shooting at you now.

       She pulls her t-shirt over his stitched-up head,
       cocooning it against her breasts. Silence. Then -
                                BLOMKVIST
                  I'm pretty sure this isn't a good
                  idea.
                                  SALANDER
                  Why.

       He extracts his head from the cocoon and looks at her.

                                BLOMKVIST
                  Apart from the fact that I'm old, we
                  work together.
                                SALANDER
                  You work with what's-her-name.
                  That's worked out for you.

       He nods.   That's true.    Then -
                                                                 107.
                                                                107.
        

                                  BLOMKVIST
                    I have some standards of behavior,
                    believe it or not.

                                  SALANDER
                    You need to stop talking.

       She climbs on top of him.
194    INT. COTTAGE - LATER - NIGHT                               194

       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 -

                                  SALANDER
                    You want me to open a window?

       He shakes his head no. Reaches for the cigarette.        Takes
       a drag. Hands it back.
195    INT. COTTAGE - MORNING                                     195

       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 -
                                  SALANDER
                    I like working with you.

                                  BLOMKVIST
                    I like working with you, too.
196    OMIT - INT. HOSPITAL CAFETERIA - DAY                       196

196A   EXT. MARTIN'S HOUSE - DAY                                 196A

       Establish.

196B   INT. MARTIN'S HOUSE - DAY                                 196B

       Frode and Martin stare at Blomkvist's unprofessionally
       sutured head wound; Salander near him like an emaciated
       bodyguard.

                                  FRODE
                    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.

                                  MARTIN
                    Not from Gunner. If he wanted to
                    shoot him, he'd have shot him.
                                                          108.
                                                         108.
 

                        FRODE
          We get poachers. They're not always
          such great shots.

                        MARTIN
          Or he's right, Dirch.        What if he is?
          This has to stop.
Frode regards Blomkvist.

                        FRODE
          Do you want to stop?

                        BLOMKVIST
          I have police reports, photos,
          Henrik's notes, my own notes, and
          Lisbeth's research. What I don't
          have are Vanger Industries records.
          That's what I want.

                           FRODE
          Why?

Blomkvist doesn't say.    Only -

                        BLOMKVIST
          Will you authorize it?

                        FRODE
          I could but why on earth would I?
                        BLOMKVIST
          Because I'm asking.

                        FRODE
          The private corporate records.
               (Blomkvist nods)
          How far back?

                           BLOMKVIST
          All the way.

Frode exchanges a look with Martin.

                        BLOMKVIST
          Henrik said I have access to
          everything I need. This is what I
          need.

                        FRODE
          That's not what he meant.
                        BLOMKVIST
          Let's ask him.
                                                             109.
                                                            109.
    

                              FRODE
                He's not well enough to ask.

                              BLOMKVIST
                I'd be happy to sign a nondisclosure
                statement, if that helps you.

                              FRODE
                Excuse us a moment.

      Frode and Martin step away to confer in private.

                              MARTIN
                I think Henrik would say yes.
                              FRODE
                That's why he has me. To protect
                him from himself. This is insane.
                              MARTIN
                What do we have to hide?

                              FRODE
                Over the course of 120 years of
                doing business? Plenty.
                              MARTIN
                If he needs this to do his job, he
                should have permission.
      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.

197   EXT. HEDEBY ISLAND - LATER - DAY                         197

      Blomkvist and Salander walk down the road from Martin's
      house.

                              SALANDER
                What am I looking for?
                              BLOMKVIST
                Any connections between the
                company's holdings and the towns
                where the women were killed ... and
                everything about Frode.

198   EXT. HEDESTAD - DAY                                      198

      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.
                                                                110.
                                                               110.
       

199    INT. COTTAGE - SAME TIME - DAY                            199

       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 hadn'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 ...
200    INT. VANGER INDUSTRIES - LATER - DAY                      200

       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.
200A   INT. COTTAGE - DAY                                       200A

       The photo of Harald in his Nazi uniform on the wall.
                               BLOMKVIST V/O
                 Your father was taking pictures
                 that day no one has seen.
201    INT. CECILIA'S HOUSE - DAY                                201

       Cecilia looks at the blurred bridge photo of Harald with
       the camera in his hand. Then at Blomkvist, coolly.
                               BLOMKVIST
                 I'd like to if I could.
                                CECILIA
                 So ask him.

                               BLOMKVIST
                 I was wondering if you could do that.

                               CECILIA
                 I don't speak to him, as you know.

                               BLOMKVIST
                 You couldn't make an exception in my
                 case.

       He gives her his most disarming smile. It usually works
       with women, but doesn't seem to have much affect on her.
                                                             111.
                                                            111.
    

                              CECILIA
                Are you afraid to be in the same
                room with him? I'm not saying you
                shouldn't be.
                              BLOMKVIST
                You won't help me?
                              CECILIA
                Sorry.
202   INT. VANGER INDUSTRIES - DAY                            202

      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.

                              LINDGREN
                Are you finished?
                              SALANDER
                No. I need to know where all the
                factories, offices and projects were
                from 1949 to 1966.

                              LINDGREN
                You already have everything.

                              SALANDER
                I don't. Nothing on subsidiary
                corporations, partnerships, or
                suppliers.

                              LINDGREN
                Then you'll have to do without.

                              SALANDER
                Mr. Frode said I have access to
                whatever I need, and I need this.

                              LINDGREN
                He said you have access to this
                floor.

                              SALANDER
                Call him.
      The woman stares at her for a long moment, then picks up
      the phone.

203   INT. ARCHIVES - DAY                                     203

      Stairs lead them to a higher floor. The woman climbs a
      step-stool. Pulls a couple of large binders from a high
      shelf. Salander doesn't help her off the stool and the
      woman looks at her even more unhappily than before.
                                                              112.
                                                             112.
    

204   INT. HARALD'S DEN - DAY                                    204

      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.

                              HARALD
                Sven Olof Lindholm.

      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.
                                HARALD
                Me.

      Blomkvist nods. Has no idea what to say.     But Harald
      waits for more of a response. Finally -
                                BLOMKVIST
                Handsome.

                              HARALD
                     (taps another)
                Birger Furugard. Me.
                     (and another)
                Per Engdahl.
                     (and another)
                Me.

      Blomkvist's eyes shift to a bolt-action Mauser infantry
      rifle displayed on a shelf ...

                              HARALD
                But your interest is in my more
                candid photographic work.

205   INT. ARCHIVES - DAY                                        205
      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 -
                                                               113.
                                                              113.
      

206   INT. HARALD'S DEN - DAY                                   206

      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.

                              HARALD
                Blom ... kvist ...
                     (lights the cigarette)
                With an `o' - or a `u.'

                                BLOMKVIST
                `o.'

                               HARALD
                An `o.'   Blom - kvist.

      Harald doesn'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.

                              HARALD
                I'm not a recluse. I don't close
                my door to anyone. They just don't
                visit.

                              BLOMKVIST
                Perhaps if you redecorated.
                              HARALD
                Hide the past like they do. Under
                a thin, shiny veneer. Like an Ikea
                table.
                     (Blomkvist shrugs)
                I'm the most honest of all of them.

                                BLOMKVIST
                The family.
                                HARALD
                Sweden.

      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.
                                                              114.
                                                             114.
     

                              HARALD
                Two point eight.

                              BLOMKVIST
                Pardon me?
                              HARALD
                The Zeiss Tessar on my Hasselblad.
                Excellent lens.

      Blomkvist tries to nod appreciatively, but the bridge
      photos don't tell him anything he doesn'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.
                               HARALD
                Landscape?   Some nice landscapes
                there.

                              BLOMKVIST
                No, it's - I can't tell who it is
                from this angle.

      He takes the photo over to the Nazi who only has to
      glance at it a moment to recognize his late nephew's son:

                              HARALD
                That's Gottfried's boy.

                              BLOMKVIST
                Martin?
      Harald nods, hands it back, smokes. It's not unusual
      Martin would have joined the search party - it would be
      unusual if he hadn't - it's his sister that's missing -
      but this blazer he's wearing troubles Blomkvist -

                              HARALD
                Handsome but useless young man,
                Martin. Like his father.

207   INT. ARCHIVES - DUSK                                     207

      The archive manager shoulders her purse, locks her
      anteroom, and approaches Salander.

                              LINDGREN
                We're closing.
                                                              115.
                                                             115.
     

                              SALANDER
                     (without looking up)
                Nowhere near finished.

                              LINDGREN
                I'm not staying late.

                              SALANDER
                I am. And I need access to all the
                rooms, including any that are locked.
                     (nothing from the woman)
                Call Frode.
208   INT. HOSPITAL - DUSK                                     208

      As Henrik naps and Martin clears his dinner tray, Frode
      listens to the caller on the room phone -
                              LINDGREN V/O
                She wants to look at everything. I
                don't like her and I don't trust her.
                There's something wrong with her.
                              FRODE
                Hang on a second -
                     (to Martin)
                I'm going to let you decide.     It's
                Ms. Lindgren again.

                              MARTIN
                     (takes the phone)
                Yes, Ingrid, what's the problem?
                              LINDGREN V/O
                This girl wants a set of keys now.
                To my room as well. It's outrageous.

                              MARTIN
                It's fine. Just tell her to make
                sure to leave the keys with security
                when she's done.

209   INT. ARCHIVES - DUSK                                     209

      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.
                              LINDGREN
                Stay all night if you want.     Leave
                the keys with the guard.

      The woman leaves. Her footsteps echo and fade. Salander
      reads a yellowed clipping from a Landskrona newspaper:
                                                                116.
                                                               116.
       

      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.

210   INT. COTTAGE - EVENING                                     210
      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 -
                                                                117.
                                                               117.
       

      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.

211   INT. VANGER ARCHIVES - EVENING                             211

      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.

212   EXT. COTTAGE - EVENING                                     212

      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 doesn'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 ...

213   INT. VANGER ARCHIVES - EVENING                             213

      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.
214   INT. COTTAGE - EVENING                                     214

      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 ...
                                                               118.
                                                              118.
      

215   INT. ARCHIVES - NIGHT                                     215

      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 -

216   INT. ARCHIVES - SAME TIME - NIGHT                         216

      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 -

217   EXT. HEDEBY ISLAND - NIGHT                                217

      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 can't
      see much inside. Comes around to the back and looks in
      another window. Tries the back door. Unlocked.

218   INT. MARTIN'S HOUSE - CONTINUOUS                          218

      He can't see a lot in the dark, but doesn'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 -
                                                              119.
                                                             119.
     

218A   EXT. THE BRIDGE - NIGHT                                 218A

       A pair of headlights comes across the bridge.
218B   INT. MARTIN'S HOUSE - NIGHT                             218B
       Blomkvist comes back to the wall of glass. Still no
       lights out there. Heads off to the hall again.
218C   EXT. HEDEBY ISLAND - NIGHT                              218C

       The car parks fifty yards from Blomkvist's cottage.   The
       headlights blink off. Someone climbs out.

218D   INT. MARTIN'S HOUSE - NIGHT                             218D

       Blomkvist comes into a study. Lots of books and framed
       photographs. He begins looking around.

218E   EXT. HEDEBY ISLAND - NIGHT                              218E

       The headlights come up the road leading to the point.
218F   INT. MARTIN'S HOUSE - NIGHT                             218F

       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 -

219    EXT. MARTIN'S HOUSE - CONTINUOUS                         219
       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.
                                                               120.
                                                              120.
      

                               MARTIN O/S
                Hello?   Mikael?

      Blomkvist stops. His heart pounds.      Martin comes down
      his porch and walks toward his car.
                              MARTIN
                Your evening stroll?
                               BLOMKVIST
                Hi.   How are you?

      Martin pulls a golf bag from his trunk and shoulders it.

                              MARTIN
                I stopped at the hospital on my way
                home. Henrik asked me to ask you
                something.
                               BLOMKVIST
                What.

                              MARTIN
                Come on in, I'll make you a drink.

      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.
220   INT. ARCHIVES - NIGHT                                       220

      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 wouldn't at an event
      as boring as this. Salander would look even more sullen.
      She checks the caption and reads:

      ... far right, Martin Vanger (19), currently studying in
      Uppsala.
                                                              121.
                                                             121.
     

      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.
221   INT. MARTIN'S HOUSE - NIGHT                              221

      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.

                              MARTIN
                What happened to you?
                               BLOMKVIST
                When.

                               MARTIN
                Now.

      Blomkvist's clothes.   The fresh mud stains.

                              BLOMKVIST
                I fell in the dark.
                              MARTIN
                You don't have a flashlight?     I'll
                give you one.
                              BLOMKVIST
                I just wasn't being careful.

      Martin smiles, but Blomkvist isn'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.

                              MARTIN
                How's the investigation?
                              BLOMKVIST
                Nothing new to report.

      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.

                              MARTIN
                Dirch says Ms. Salander is clever.
                Maybe she'll turn something up.

                               BLOMKVIST
                Maybe.
                                                               122.
                                                              122.
      

      Martin hands Blomkvist the mini-Maglite.

                                BLOMKVIST
                Thanks.
222   INT. ARCHIVES - NIGHT                                     222

      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" ...
                              SALANDER
                Hello, Martin.

223   INT. MARTIN'S KITCHEN - LATER                             223

      Martin pours Scotch.    Hands one to Blomkvist.
                              BLOMKVIST
                What did he say?

                                MARTIN
                What?

                              BLOMKVIST
                You said Henrik asked you to ask me
                something.

                                MARTIN
                I just did.

                                BLOMKVIST
                What?

                              MARTIN
                How the investigation's going.      That
                was his question.

                                BLOMKVIST
                Oh.

      Blomkvist's eyes only dart to a rifle bag leaning against
      the wall next to a box of shells, but Martin follows
      them.
                              MARTIN
                You hunt? We should go hunting
                together sometime.

                                BLOMKVIST
                Sure.

      They drink.   Listen to a silence.
                                                              123.
                                                             123.
 

                        MARTIN
          Nothing at all?
               (Blomkvist doesn't know
                what he means)
          New. To report.
                          BLOMKVIST
          No.
Martin regards Blomkvist in another silence.        Then -

                        MARTIN
          I can see you're anxious.

                          BLOMKVIST
          No.

                          MARTIN
          To get home.    After your walk.

                        BLOMKVIST
          I suppose I am.

                        MARTIN
          To have dinner. With your
          girlfriend.
                          BLOMKVIST
          My assistant.    Yes.
                        MARTIN
          We'll have better luck with a gun.

                          BLOMKVIST
          Sorry?
                        MARTIN
          When we go hunting.

Martin pulls open a bar drawer and takes from it a
handgun.

                         MARTIN
          A gun.   Rather than a knife.

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.

                        MARTIN
          You just couldn't stay away, could
          you.

Blomkvist doesn't know what to say. Martin's demeanor,
even in this situation, remains cordial.
                                                              124.
                                                             124.
    

                              MARTIN
                I want to show you something.     Bring
                your drink. Leave the knife.

      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.
224   INT. VANGER ARCHIVES BUILDING - NIGHT                    224

      Salander strides past the napping night watchman without
      leaving the keys or bothering to tell him she's done.
225   EXT. VANGER ARCHIVES BUILDING - NIGHT                    225

      Crossing the empty parking lot, she tries Blomkvist on
      her cell. Gets his voice mail. Kick-starts her bike.
226   INT. MARTIN'S HOUSE - NIGHT                              226

      Martin "leads" Blomkvist from behind back to the kitchen,
      switching off lights as they go.

                              MARTIN
                You know what's harder than
                shooting someone? Just missing
                them. That was a very good shot
                up at the cabin.

                              BLOMKVIST
                It didn't work. I'm here.

                              MARTIN
                Mikael, it did work.     You're here.
      They come through a pantry, at the end of which is a
      door.

                                MARTIN
                Open it.
      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.
                                MARTIN
                Push it open.

227   INT. BASEMENT ANTEROOM - CONTINUOUS                      227

      As Blomkvist steps across the threshold -
                                                                 125.
                                                                125.
     

                               MARTIN
                 Switch is on the left.

       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 -

228    EXT. HEDEBY ISLAND - NIGHT                                 228

       The Honda's single headlight shudders as Salander comes
       across the bridge onto the island.

228A   INT. MARTIN'S BASEMENT - CONTINUED                        228A

       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 aren'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.

                               MARTIN
                 Why didn't you just go home.
                               BLOMKVIST
                 I assume you mean the opportunity
                 for that has passed.

       Martin smiles, appreciating, perhaps, Blomkvist's "easy"
       manner in this dire circumstance.

                               MARTIN
                 How'd you do it? What did you find?
                                                       126.
                                                      126.
                      Dragon Tattoo Final 9/1/11 SZ

Blomkvist doesn't say. Martin looks like he has all the
time in the world to wait, and does. Then -

                        MARTIN
          We can talk or we can just get on
          with it. It's really up to you.

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 -

                        BLOMKVIST
          I found a picture no one had seen
          before.
                        MARTIN
          Of.
                       BLOMKVIST
          You. In your Uppsala prep school
          blazer.

Martin doesn'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.
                        MARTIN
          What does that say?

                        BLOMKVIST
          That you lied about where you were
          that day. Or rather when.

                        MARTIN
          Did I? If I did, so what.    People
          lie all the time.

                        BLOMKVIST
          It also said that Lena Andersson was
          a schoolmate.
                        MARTIN
          Lena ...
               (he has to think back to
                remember her)
          Lena was a long time ago.
               (pause)
          Where's this picture now? With all
          the other junk on your desk?
                        BLOMKVIST
          A print is. Digital copies are on a
          secure photo site.
                                                               127.
                                                              127.
      

                               MARTIN
                 That's a lie ... How much does the
                 girl know?

       Blomkvist isn't sure how to play that question ...
                               MARTIN
                 Let's hope it's as much as you.
                 That'll make it more fun. Where is
                 she?

                                BLOMKVIST
                 Stockholm.   She went there this
                 morning.
                               MARTIN
                 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 -
       He holds up the keys he took from Blomkvist's pocket when
       he was out cold.

                               MARTIN
                 I can't thank you enough for bringing
                 her to me.
228B   INT. COTTAGE - NIGHT                                    228B

       As Salander gets the door open with her key and comes in -
                               SALANDER
                 Mikael - ?

       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 -

229    INT. MARTIN'S BASEMENT - CONTINUED                       229

       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.
                                                       128.
                                                      128.
                      Dragon Tattoo Final 9/1/11 SZ

                        MARTIN
          So what would you like to know?
There are so many things, but also no point, so Blomkvist
says nothing.

                        MARTIN
          You're the journalist, ask me
          something.

Nothing from Blomkvist.   Which is okay with Martin; he
can do this alone -
                        MARTIN
          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 -
               (points off)
           - 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.
Nothing from Blomkvist, but he is wondering now what
happened to Gottfried if the drowning wasn't accidental.

                        MARTIN
          You can't be a sloppy technician like
          that.   You can'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 don't have to
          tell you you're going to make quite a
          mess.

Nothing from Blomkvist, but Martin nods.
("How do you do this and still function in normal
society?")

                        MARTIN
          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;
                        (MORE)
                                                        129.
                                                       129.
                       Dragon Tattoo Final 9/1/11 SZ
                        MARTIN (CONT'D)
          you have secrets. You had one when
          you came up here. It made you feel -
          special. Didn't it?

Blomkvist doesn't say. Martin is a little thrown by
Blomkvist's next unspoken comment -

("Yes, but my secrets aren't rape and murder")
                        MARTIN
          No. I'm not a rapist. Of course I
          do that too - and at one time it was
          enough - but -
               (gathers his thoughts to
                explain it)
          A rapist, Mikael, gets off on
          domination. I need ...
               (discards a few other words
                before:)
          - destruction.

Martin gets up and sets about the business of
immobilizing Blomkvist further with a block-and-tackle
contraption of chains and straps.

                        MARTIN
          Can I ask you something? Why don't
          people trust their instincts? They
          sense something's wrong - someone's
          walking too close behind them - yet
          they don'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.
               (pause)
          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.

It amazes him.   It always amazes him.   He keeps working.
                        MARTIN
          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."
               (regards Blomkvist)
          And then the moment comes when they
          realize ... no, all hope is gone.
                        (MORE)
                                                              130.
                                                             130.
     
                              MARTIN (CONT'D)
                And when that happens - when I see
                the hope draining from their face
                like it is from yours right now -
                     (whispers like it's just
                      between them)
                - well, I feel myself getting hard
                just watching it.
      Silence ...

                              MARTIN
                Say something.

                              BLOMKVIST
                You are a sick fuck.
                              MARTIN
                ... Is this an interview or an
                editorial?

      Blomkvist, of course, doesn't answer, or comment, yet
      Martin considers what the journalist hasn't said ...

      ("Martin, civilized people don't do what you do.")

                              MARTIN
                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.
      Martin regards Blomkvist in a silence.    Then -

                              MARTIN
                Anything else you want to know?
                     (pause)
                You sure?
                     (pause)
                All right. Whatever you say.

      He yanks a chain that feeds through the pulleys that lift
      Blomkvist up onto his feet -

230   INT. COTTAGE - NIGHT                                     230
      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 -
                                                             131.
                                                            131.
    

      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.

231   INT. MARTIN'S BASEMENT - NIGHT                          231

      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 -
                              MARTIN
                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?

      He returns to his work bench to lay out various tools
      next to his gun and a desk phone.
                              BLOMKVIST
                Your sister wasn't just another girl.
      Martin comes back quickly and yanks a strap that cinches
      the noose tighter around Blomkvist's neck as it lifts him
      onto his tiptoes.

                              MARTIN
                What happened to her.

                              BLOMKVIST
                You're choking me -
                              MARTIN
                You found her?
                              BLOMKVIST
                You killed her.

      Martin just stares at him confused.   Then -

                              MARTIN
                You useless fuckin detective.
                                                          132.
                                                         132.
 

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.

                         MARTIN
           Too tight to talk?
It is.   Blomkvist can utter no sound but a gag.

                          MARTIN
           Good.   I'm tired of talking to you.

He wraps Blomkvist's head in cellophane, completely
cutting off his ability to breathe, and calmly watches
him struggle. ...
                         MARTIN
           Would you like me to do something
           about that?

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.
                           MARTIN
           See?    I'm not a monster.
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 -
                         MARTIN
           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.

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 can't get a grip. Martin watches the struggle
calmly, and just as calmly offers:

                         MARTIN
           It's time. I don't want to be late
           for my date with our girlfriend.
                                                        133.
                                                       133.
                       Dragon Tattoo Final 9/1/11 SZ

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 -
                         MARTIN
           Goodbye, Mikael.
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 can'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 -

                         SALANDER
           May I kill him?

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.
                                                             134.
                                                            134.
    

      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 -

                              BLOMKVIST
                He has more guns in the den -

                                SALANDER
                I know.

      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.

232   EXT. THE BRIDGE - NIGHT                                 232

      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 doesn'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 ...
                                                                135.
                                                               135.
       

233   INT. MARTIN'S HOUSE - LATER - NIGHT                        233

      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 -
                                BLOMKVIST
                Where is he?

                                SALANDER
                Dead.
234   EXT. HEDESTAD - DAWN                                       234

      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.

235   INT. COTTAGE BEDROOM - MORNING                             235
      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 doesn't
      hear the knock at the front door, nor -

                                SALANDER O/S
                It's open.

      Frode comes into the cottage looking shaken. Salander is
      the picture of calm, drinking a cup of black coffee.
                              FRODE
                Where's Mikael?

                               SALANDER
                Asleep.   Coffee? There's no milk.

      Frode absently shakes his head no.
                              FRODE
                I have some very upsetting news.
                Martin was killed in a car accident
                last night.

                                SALANDER
                Sad.

      Frode isn't sure he heard right.      Regards Salander
      sipping her coffee.
                                FRODE
                What?
                                                              136.
                                                             136.
    

                              SALANDER
                I said it's sad.

                              FRODE
                     (pause)
                What do you know about this?

      She doesn't say any more.   Frode gets up and starts
      toward the bedroom -

                              FRODE
                I have to talk to (Mikael) -

                              SALANDER
                Let him sleep.

      It's not a request; it's a command.
236   INT. COTTAGE - LATER - MORNING                           236

      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 can't take it anymore. Closes the book before
      reaching the end. Just sits there.

                              FRODE
                What are we going to do?

                              SALANDER
                We're going home, Mikael and me.
                I don't know what you're going to do.

                              FRODE
                I'm going to the police.

                              SALANDER
                Show them the videos while you're at
                it.

                              FRODE
                The -
      Salander points to a stack of video tapes.
                                                                   137.
                                                                  137.
          

                                SALANDER
                  Would you like to see them?

                                   FRODE
                  No.
236A   INT. COTTAGE BEDROOM - LATER - MORNING                      236A

       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 -

                                BLOMKVIST
                  How is it someone who's 23 is a ward
                  of the state?

                                SALANDER
                  I'm mentally incompetent and can't
                  manage daily life.

       He smiles, thinking it's joke.       It isn't, he realizes.

                                BLOMKVIST
                  Since when have they said that.
                                SALANDER
                  Since I was twelve.
                                BLOMKVIST
                  Something happened when you were
                  twelve?

       She doesn't say.    Just studies him ...

                                BLOMKVIST
                  It's all right, you don't have to
                  tell me anything -

                                SALANDER
                  I tried to kill my father. I burned
                  him alive. Got about 80 percent of
                  him.

                                   BLOMKVIST
                        (pause)
                  Oh.

       Silence.   Then -
                                   SALANDER
                  We need milk.

237    OMIT - EXT. COTTAGE - LATER - DAY                             237
                                                                  138.
                                                                 138.
       

238   INT. COTTAGE - DAY                                           238

      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.
                                BLOMKVIST
                Harriet?

                                SALANDER
                I think so.

      Blomkvist can't look at the photos long.       Sets them
      down. Something's troubling him -

                              BLOMKVIST
                Martin didn'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.
                     (pause)
                He didn't kill her. And his father
                was dead the year before.
                     (pause)
                What if she did somehow get away?
                Could she have done that? Could she
                have done it alone?
      He goes up to his wall of suspects.

                              BLOMKVIST
                Is she's alive, there's only one
                person in this family who would know
                where she is.

      He takes the photo of Anita down from the wall.

239   INT. HOSPITAL - DAY                                          239
      Henrik sits in one of the chairs. Blomkvist in another.
      Salander prefers to stand. Eventually -
                                VANGER
                Poor Martin.

      Clearly, he hasn't been shown the death book, or been
      told the tale of Blomkvist's night in Martin's dungeon.
                                                               139.
                                                              139.
      

                              BLOMKVIST
                I have to go away for a couple
                days. When I come back, I hope to
                have an answer for you.
      Such a possibility stuns the old man. He regards
      Blomkvist a moment. Then Salander ...
                              VANGER
                Would the young lady mind giving us
                a moment of privacy.

                              BLOMKVIST
                She's my partner, Henrik.     She should
                stay.
      A tiny, tiny, tiny smile finds its way to her face at the
      mention of the word `partner.'

                              VANGER
                What have you found?

                                 BLOMKVIST
                I'm not sure.

                              VANGER
                Don't treat me like a child.      Tell
                me.

                                BLOMKVIST
                I can't.    I don't know.    I need a
                week.

      Vanger studies him.   Then -

                              VANGER
                I've waited forty years.     I can wait
                another week.

240   INT. AIRLINE - IN FLIGHT - DAY                              240

      Blomkvist and Salander read magazines in a pair of coach
      seats. Across the aisle - occupying two seats - is one
      300-lb. sleeping figure: Plague.

241   INT. PUB - LONDON - DUSK                                    241
      They drink pints in an unpopular, almost-empty pub.     A
      Cure song plays.

                              BLOMKVIST
                I always liked this song.
                     (nothing from her or Plague)
                You don't?
                                                               140.
                                                              140.
      

                              SALANDER
                I don't like classical music.
      A strange-looking young man comes in, regards the strange-
      looking trio at the table, comes over. To the fat man -

                               TRINITY
                Plague?

                               PLAGUE
                Trinity.
                               SALANDER
                Wasp.

      Blomkvist starts to offer his hand before realizing no
      one else has or will.

                               BLOMKVIST
                ... Mikael.

      Trinity sits. None of these people have much experience
      with human interaction. They all look at Blomkvist, but
      he isn't sure why.

                               SALANDER
                The money.

      Blomkvist takes an envelope from his jacket, hands it to
      Trinity. He begins counting it -
242   EXT. LONDON - NIGHT                                       242
      Alone in the back of a parked van amidst electronic
      components he doesn'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.

                               BLOMKVIST
                Fuck me.
      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 -

                              SALANDER
                It's your turn.
                                                                141.
                                                               141.
       

243   EXT. ANITA'S HOUSE - LONDON - NIGHT                        243

      Blomkvist knocks on the door.     Anita pulls it open.

                               BLOMKVIST
                It's me.   Sorry to bother you.

      She doesn't invite him in, but doesn't shut the door in
      his face either.
                              ANITA
                What do you want?

                              BLOMKVIST
                No one's called you?

                                ANITA
                About.

                                BLOMKVIST
                Your cousin.

      She has two, but doesn't ask which -

                                BLOMKVIST
                Martin.

                              ANITA
                What about him?

                              BLOMKVIST
                He died last Thursday. A car
                accident. I'm sorry.
                     (nothing from her)
                There's going to be a memorial in
                Hedestad. I know you haven't been
                back there in a long time, but -
                              ANITA
                I'm not interested in any memorial.

                                BLOMKVIST
                I understand.

                              ANITA
                What do you understand?

                              BLOMKVIST
                That you don't really care for any of
                your relatives. Still, I thought you
                should know.

                                ANITA
                Now I know.

      And now, she closes the door.
                                                                  142.
                                                                 142.
         

244    OMIT:   INT. ANITA'S HOUSE - LONDON - NIGHT                 244

245    EXT. ANITA'S HOUSE - LONDON - NIGHT                         245

       Blomkvist returns to the van.      Climbs in.
                                  SALANDER
                  How'd it go?

                                 BLOMKVIST
                  Okay.   I think.

       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.

                                  TRINITY
                  She's on.

       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.

246    OMIT:   INT. HOTEL - LONDON - NIGHT                         246

246A   INT. HOTEL ROOM - LONDON - LATER - NIGHT                   246A
       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.
                                BLOMKVIST
                  She's playing solitaire?
                       (Salander nods)
                  And she still hasn't called anyone.
                                  SALANDER
                  No.

                                BLOMKVIST
                  Do we have her cell, too?
       Salander points to one of the windows on the screen.
       His hand comes off her shoulder.
                                                                    143.
                                                                   143.
       

                               BLOMKVIST
                 I was so she'd lead us to her.

                               SALANDER
                 Put your hand back on my shoulder.
      He does.   They watch the solitaire game together ...
                               SALANDER
                 There's only one reason she
                 wouldn't call Harriet. She can't
                 because Harriet is indeed dead.
247   INT. HOTEL ROOM - LONDON - LATER - NIGHT                       247

      It's strange perhaps, but he does some of his best
      thinking during sex -
                               BLOMKVIST
                 I was just thinking. What if -

                               SALANDER
                 Ten more seconds.
      That's fair.   She finishes.    They lie there.     Then -

                                SALANDER
                 Okay, what.

                               BLOMKVIST
                 I was just thinking, there could be
                 one other possibility.

248   OMIT:   INT. HOTEL ROOM - LONDON - NIGHT                       248
249   INT. INVESTMENT BANK - LONDON - DAY                            249

      Blomkvist taps on Anita's open office door.

                                BLOMKVIST
                 May I?
                               ANITA
                 What is it now.
      He comes in and sits.

                               BLOMKVIST
                 I want to show you something.

      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.
                                                                144.
                                                               144.
       

                              BLOMKVIST
                Before he died, your brother hung me
                from a hook ... Harriet.
250   EXT. PARK - LONDON - DAY                                   250
      They sit together on a park bench.

                              BLOMKVIST
                Anita married in Stockholm in 1967.
                It's recorded in the Swedish General
                Register. But the family never knew,
                did they.
                     (she confirms that with a
                      shake of her head)
                I'm guessing she then came here on a
                passport in her married name, and you
                followed on her maiden name passport.
                              HARRIET
                Actually, it was the other way
                around. She thought it safer for me
                to travel with Spencer myself.

                              BLOMKVIST
                What did he think about that?
                              HARRIET
                Nothing. Only that he loved her.
                She said, If you love me, you'll do
                this and not ask why. He never did.

                              BLOMKVIST
                They both died twenty years ago.

                              HARRIET
                A car accident. You found that, too.

      Blomkvist nods, reaches for something in his jacket
      pocket - changes his mind - changes it again and pulls it
      out.

                                 BLOMKVIST
                Is this you?
      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 ...
                              HARRIET
                I was 14 the first time he raped me.

                                 BLOMKVIST
                Martin.
                                                               145.
                                                              145.
      

                              HARRIET
                No, my father. He took this picture.
                Martin didn't start until he died.

      Blomkvist can't hide his horror even after all he's seen.
                              BLOMKVIST
                Why didn't you tell someone?
                                HARRIET
                I did.    My mother.

      Blomkvist stares.   Finally -

                              BLOMKVIST
                Henrik would have done something.

                              HARRIET
                Would he? I don't know. I almost
                told him. But I was afraid because
                of what I did.
                     (pause)
                You still don't understand?

      He doesn't. She studies him, and perhaps sees in him
      what Salander did long ago - that he can be trusted.
                              HARRIET
                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.
251   EXT. GOTTFRIED'S CABIN - NIGHT - 1965                     251

      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.
                              HARRIET V/O
                I made it out of the house and down
                to the dock. He came staggering
                after me -
      Gottfried emerges from the cabin and stumbles down the
      hill in pursuit of his almost-naked daughter.

                              HARRIET V/O
                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.
                                                             146.
                                                            146.
    

      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.
                              HARRIET V/O
                When it was finally over I looked
                up, and Martin was standing there -

      She sees her brother up by the cabin looking down at her.
                              HARRIET V/O
                With a little smile.
252   EXT. PARK - LONDON - DAY                                252

                              HARRIET
                He dragged me back to the cabin ...
                All I'd accomplished was substitute
                one rapist for another.

253   EXT. HEDESTAD - DAY - 1966                              253

      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.

                              HARRIET V/O
                A couple months later, Henrik sent
                him off to school in Uppsala. And I
                thought maybe - maybe - the nightmare
                was over. Until that day.
      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.
                              HARRIET V/O
                There he was - across the street -
                looking at me with that same little
                smile on his face.

      A clear shot of young Martin in his Uppsala blazer,
      standing by the corner, smiling at her.

                              HARRIET V/O
                It wasn't over.
                                                                147.
                                                               147.
     

254   EXT. PARK - LONDON - CONTINUED                             254

                               BLOMKVIST
                 How'd you get away? Anita?
255   INT. VANGER MANOR - DAY - 1966                             255

      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.

                               ANITA
                 Don't take anything.
      Harriet puts the clothes back.     Picks up her purse.

                               ANITA
                 Leave that, too.

256   INT. VANGER MANOR - NIGHT - 1966                           256

      The dinner that night. Vanger noticing Harriet's empty
      chair. And Anita saying nothing, taking a bite of food.

257   EXT. HEDEBY ISLAND - DAY - 1966                            257

      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.
                               ANITA
                 Stay absolutely still.

      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 -
                                 HARRIET V/O
                 She saved me.

258   EXT. PARK - LONDON - DAY                                   258
      Silence.   Then she gestures to Blomkvist's neck.

                               HARRIET
                 How did you get away?

                               BLOMKVIST
                 Someone saved me, too.
                                                                  148.
                                                                 148.
        

       He gestures off to the thin, strange girl sitting on
       another park bench too far away to hear them. Harriet
       does something she hasn't done since they met: smile.
259    EXT. VANGER MANOR - DAY - ESTABLISH                         259
259A   INT. VANGER MANOR - DAY                                    259A

       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.
                               BLOMKVIST
                 How are you feeling?

                                VANGER
                 I'm fine.   Thank you, Anna.
       Anna leaves. Closes the doors.      Before Blomkvist can say
       anything else -

                               VANGER
                 I made you a promise. Whether you
                 found out anything or not.

       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.

                                VANGER
                 Now.   What do you have to tell me.

259B   EXT. VANGER MANOR - DAY                                    259B
       A car pulls up the drive. Parks. The back door opens.
       Harriet climbs out. Looks at the manor. Then walks
       toward the front door -

260    INT. VANGER MANOR - MOMENTS LATER                           260

       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 ...
                                 HARRIET
                 Hi, Henrik.

       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 isn't particularly moved.

261    OMIT - INT. VANGER MANOR - DAY                              261
                                                              149.
                                                             149.
     

261A   INT. COTTAGE - LATER - DAY                              261A

       As Frode leafs through the file that Blomkvist has
       already read -
                               FRODE
                 ... I don't even remember
                 Wennerstrom working here, much less
                 being fired ...
                               BLOMKVIST
                 Why would you. It was a long time
                 ago. Which is more to the point than
                 the money he embezzled.

                               FRODE
                 I don't think I'm seeing the point.
                                 BLOMKVIST
                 Yes, you are.
                               FRODE
                      (another look at the
                       paperwork)
                 It happened in the 1970's ...

       Salander watches the two men from across the room ...
                               FRODE (ADR)
                      (regarding the documents)
                 I swear I didn't know this was what
                 Henrik had on him. If I had, I never
                 would have let him bring you up here.
                 But he wasn't trying to deceive you.

                               BLOMKVIST
                 Come on, he knows you can't try
                 somebody for this 35 years later. I
                 like Henrik, but he knows that.
       Frode disagrees -

                               FRODE
                 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.

                               BLOMKVIST
                 The "court of public opinion," Dirch,
                 makes celebrities out of girls who
                 shop. Henrik promised me
                 Wennerstrom's carcass on a plate.
                 This isn't even the plate. I can't do
                 anything with this.
                                                              150.
                                                             150.
     

                              FRODE
                Of course you're right ...
                     (pause)
                I'm sorry.
262   EXT. VANGER MANOR - LATER - DAY                          262

      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.

                              SALANDER
                Fuck these people ...
                               BLOMKVIST
                Yeah ...
                              SALANDER
                Harriet most of all.

                               BLOMKVIST
                Excuse me?

                              SALANDER
                If she'd done anything but run,
                Martin wouldn't have been able to
                kill all those women.
                              BLOMKVIST
                She had no idea he was doing it.

                              SALANDER
                She should have killed her father and
                him.
                              BLOMKVIST
                That's what you would've done.     Not
                everyone's you.

      She's not sure she likes the comment. Decides she
      doesn't.   Takes her arm away from his shoulder.

                              BLOMKVIST
                That was meant to be a compliment.
                Put your arm back on my shoulder.

      She doesn't.   So he drapes his on hers.    Then -

                              SALANDER
                What happened with Wennerstrom.
                How did he get you?
                                                               151.
                                                              151.
      

                                BLOMKVIST
                  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.
      Not a good day, that.   Then -
                                SALANDER
                  You were emphatic that the way I
                  looked into your life was illegal and
                  immoral. Would you feel the same
                  about Wennerstrom?

      He regards her, uncertain what she means ...
                                SALANDER
                  I started investigating him on my
                  own. Then you showed up and hired
                  me. I haven't had a chance to look
                  at it all - you and Harriet-fucking-
                  Vanger have kept me busy ... but I
                  may have something.

                                BLOMKVIST
                       (pause)
                  On Wennerstrom.

      She nods.   Then rests her head on his shoulder.
263   OMIT:   EXT. TRAIN STATION - HEDESTAD - DUSK              263
264   INT. BLOMKVIST'S APARTMENT - MORNING                      264

      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 -

                                BLOMKVIST
                  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.

                                ERIKA
                  How do you know this?
                                                               152.
                                                              152.
      

                               BLOMKVIST
                 This time you don't want to know.

                               ERIKA
                 This time I do want to know.
                               BLOMKVIST
                 I have access to his computer, and
                 his accountants' and lawyers'.

      She isn't happy to hear that explanation.

                               ERIKA
                 And how do you have that?
                               BLOMKVIST
                 I could have gotten it from a source
                 inside the company.
                               ERIKA
                 But you didn't.

                               BLOMKVIST
                 But that's what you'll say.

                               ERIKA
                 But what will you say to me?

                               BLOMKVIST
                 That depends on if you really want to
                 know.

                                ERIKA
                 I do.   Who gave you access?
      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.

265   TV NEWS:                                                  265
                               ANNOUNCER
                 Journalist Mikael Blomkvist - who
                 this time last year was convicted of
                 libel in a Stockholm courtroom -
                 doesn't seem to have learned from
                 that experience. Or maybe he has -

266   INT. BLOMKVIST'S APARTMENT - NIGHT                        266

      The report continues on a TV in Blomkvist's bedroom -
                                                       153.
                                                      153.
                      Dragon Tattoo Final 9/1/11 SZ

                        ANNOUNCER
          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.

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.




                        BLOMKVIST
          He'll call it a personal vendetta
          but it won't work. FI can't ignore
          banking and securities fraud like
          this. The police can't ignore the
          organized crime stuff. They'll both
          have to investigate.

                          SALANDER
          Then.

                        BLOMKVIST
          We'll be back in court, but this
          time it'll cost him. That's probably
          it, though. These guys never to
          prison.

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.

                          BLOMKVIST
          What's wrong.

                        SALANDER
          It's embarrassing.
                          BLOMKVIST
          What.

                        SALANDER
          I need to borrow some money.
Blomkvist grins and reaches for his wallet.
                                                             154.
                                                            154.
    

                              SALANDER
                50,000.

      His grin stays stitched to his face a moment, then
      unravels. He puts his wallet away.
                              SALANDER
                I have a chance to make an
                investment. It's a smart, safe
                investment.

                              BLOMKVIST
                I don't know that I have that much.

                              SALANDER
                You do. I'm sorry that I know that.
                You have 65 thousand in your two
                accounts.
      He's no longer shocked or dismayed by her knowing more
      about his personal affairs than he does.

                              SALANDER
                You'll get the money back.   I
                promise.
267   INT. SALANDER'S APARTMENT - DAY                          267

      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 -

                              WENNERSTROM
                These allegations - like the last
                ones from this so-called journalist -
                are as ridiculous as they are untrue -

268   EXT/INT. CLOTHING STORE - STOCKHOLM - DAY                268

      Salander purchases with cash expensive designer clothes
      she normally wouldn't be caught dead in.
                              WENNERSTROM
                I'll be seeing Mr. Blomkvist in court
                again. I'm looking forward to it.

269   EXT/INT. LUGGAGE SHOP - STOCKHOLM - DAY                  269

      Here she's buying a high-end carry-on valise and
      portfolio briefcase.
                                                               155.
                                                              155.
      

                              REPORTER
                What about his documentation?

                               WENNERSTROM
                Fabricated.   All of it.
270   EXT/INT. WIG SHOP - STOCKHOLM - DAY                       270

      Good wigs cost money - like the shoulder-length blonde
      one atop a black Lucite head Salander is purchasing.

                              ANNOUNCER
                The Securities Fraud Office isn't
                quite as certain as Mr. Wennerstrom
                of that.

271   EXT/INT. SHOP - STOCKHOLM - DAY                           271
      A place that caters to transvestites who, among other
      things, require as Salander does, latex breasts.
                              FSA OFFICIAL
                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.
272   EXT/INT. SALANDER'S APARTMENT - DAY                       272

      Wearing the wig and a designer outfit she takes her own
      passport photo against a wall. She looks like Erika.

                              REPORTER
                Mr. Blomkvist names no sources.

                              FSA OFFICIAL
                And we can't force him to.     But we
                can look for them.

                              REPORTER
                Beginning where?

                              FSA OFFICIAL
                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.

273   INT. PLAGUE'S APARTMENT - NIGHT                           273

      Not wearing the wig now, she inspects a passport Plague
      has acquired for her featuring the crown of Norway, and
      some credit cards.
                                                                156.
                                                               156.
       

      On his TV, a pack of lawyers stand where Wennerstrom was
      standing before - outside the Group's corporate offices -
      under, as usual, umbrellas -

                              LAWYER
                Mr. Wennerstrom isn't available for
                comment today, but as his legal
                counsel, I'd be happy to answer your
                questions.
                                REPORTER
                Where is he?

                              LAWYER
                At home, I imagine.

                               REPORTER
                He isn't.   Has he left the country?

                              LAWYER
                I don't think so.
274   EXT. ZURICH - DAY                                          274

      A plane touches down on a Zurich Airport runway.

275   INT. ZURICH AIRPORT - DAY                                  275

      A customs official, satisfied with "Irene Nesser's"
      Norwegian passport - not to mention her blonde hair and
      bustline - stamps a page.
276   EXT. ZURICH - DAY                                          276

      Bellmen outside the 5-Star Zimmerstahl Hotel attend to
      the luggage of wealthy guests emerging from nice cars.

277   INT. ZIMMERSTAL HOTEL - ZURICH - DAY                       277

      As a desk clerk photocopies Ms. Nesser's passport, she
      neither hides from nor plays to the security camera.

278   INT. SUITE - ZIMMERSTAHL - EVENING                         278

      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:

                              ANNOUNCER
                With his failure to appear before a
                Security Exchange Commission panel, a
                warrant has been issued for The
                Wennerstrom Group CEO.
                                                               157.
                                                              157.
      

      An immigration official appears before the news cameras -

                               IMMIGRATION OFFICIAL
                 I can confirm that he left Sweden on
                 a private jet that landed in Paris
                 last week, but whether he's still
                 there, we don't know. He could be
                 anywhere by now.
      She sips at her room service coffee.
279   EXT.   ZURICH - DAY                                       279

      "Irene Nesser" enters Bank Hausen General under watchful
      security cameras.

280   INT. BANK HAUSEN GENERAL - ZURICH - DAY                   280
      Security cameras inside watch her and a banker at a desk
      in an area reserved for discreet transactions.
                               SALANDER
                 I have a number of accounts at Bank
                 of Kroenfeld, Cayman Islands. I want
                 to transfer those funds and convert
                 them to bonds.
      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.
                               WAGNER
                 Naturally, you have the clearing
                 codes.

                               SALANDER
                 Naturally.
                               WAGNER
                 How many accounts will you be
                 transferring?
                               SALANDER
                 Thirty.

      He glances at his watch, perhaps thinking about lunch.
      His faux-politeness - even his appearance - reminds her
      of Bjurman.
                               WAGNER
                 This will take some time.

                               SALANDER
                 For which you'll receive a 4-percent
                 commission.
                                                              158.
                                                             158.
     

                              WAGNER
                I will.

                              SALANDER
                Then it won't be a waste of it.
      She offers him the Zimmerstal pen.
                              WAGNER
                Thank you, I have one.

      He picks up one of his cheap pens. She hands him a long
      list of account numbers and clearing codes -
281   INT. SUITE - ZIMMERSTAL HOTEL - ZURICH - DAY             281

      As she sorts through a stack of bonds, the TV shows a
      reporter in a colorful town square.

                              REPORTER
                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 -
      A snapshot of Wennerstrom, or someone who looks like him -
      tropical shirt, hat and sunglasses - climbing into a car.

                              REPORTER
                - and say they believe it is the
                disgraced billionaire.

282   INT. BANK DORFMANN - ZURICH - DAY                        282

      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.
                              HASSELMAN
                How many of these would you like to
                convert for deposit?
                               SALANDER
                All fifty.   Into five accounts.

      He works out the conversion to CHF and hands her the
      calculator: A "2" followed by more digits than we can
      count.
                              SALANDER
                That looks correct.
                                                               159.
                                                              159.
     

283    INT. SUITE - ZIMMERSTAL HOTEL - EVENING                  283

       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.

A284   EXT. ZURICH AIRPORT - DAY - ESTABLISHING                A284

284    INT. LADIES ROOM - ZURICH AIRPORT - DAY                  284

       Irene cuts up credit cards, flushes them down a toilet.
285    INT. ZURICH AIRPORT - DAY                                285

       Drops the scissors in a trash bin on her way to security.

286    INT. OSLO AIRPORT - DAY                                  286
       Irene disembarks with the other Zurich flight passengers.

287    INT. LADIES ROOM - OSLO AIRPORT - DAY                    287
       Irene's earrings disappear down a sink drain.     Necklace
       falls to the bottom of a paper towel bin.

288    EXT. OSLO TRAIN STATION - DAY                            288

       Irene/Salander puts her empty portfolio in an unlocked
       locker, wipes the prints from it, heads for the platform.

289    INT. TRAIN - MOVING - EVENING                            289

       She has a private sleeping berth, but isn'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.

290    INT. SALANDER'S APARTMENT - STOCKHOLM - NIGHT            290

       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 ...
                                                               160.
                                                              160.
      

290A   EXT. SALANDER'S APARTMENT - STOCKHOLM - NIGHT           290A

       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.
                                ZURICH REPORTER O/S
                  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.
291    EXT. ZURICH - DAY                                        291

       The reporter stands under an umbrella on the same street
       Salander crossed to get from one hotel to the other.
                                ZURICH REPORTER
                  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.

292    OMIT:   EXT. STOCKHOLM - EVENING                         292
293    INT. MILLENNIUM'S OFFICES - EVENING                      293

       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:
                                ZURICH REPORTER ON TV
                  That money, approximately two billion
                  Euros, was then spread over a number
                  of accounts with the help of this
                  confederate, seen here in Zurich -

       Security camera images of "Irene Nesser," entering and
       leaving banks.

                                ZURICH REPORTER ON TV
                  - 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.
                                                                   161.
                                                                  161.
          

293A   EXT. STOCKHOLM - EVENING - SAME TIME                        293A

       Her whereabouts are here, roaring through Stockholm on
       her Honda like the first time we saw her.
293B   INT. MILLENNIUM'S OFFICES - EVENING                         293B

       Blomkvist hears a motorcycle and glances out the window
       to see Salander pulling up outside.

293C   EXT. MILLENNIUM'S OFFICES - EVENING                         293C

       He comes out, meets her at her motorcycle.         She takes a
       cashier's check from her jacket pocket.

                                 SALANDER
                   The money I borrowed.

                                   BLOMKVIST
                   Already.

       She nods.
                                   BLOMKVIST
                   Thank you.

                                   SALANDER
                   Thank you.
                                 BLOMKVIST
                   Good investment?

                                   SALANDER
                   It was okay.

       He nods.    She nods.
                                 SALANDER
                   What are you doing later?
                                 BLOMKVIST
                   Seeing my daughter.

                                   SALANDER
                   Okay.

       She nods.   He nods.
                                 BLOMKVIST
                   You look nice.
                                   SALANDER
                   Thanks.

       He nods. She nods. Erika regards them from inside the
       conference room. Salander climbs back on her motorcycle.
                                                               162.
                                                              162.
     

                               SALANDER
                 Christmas again ... see you soon.
A294   EXT. PALMGREN'S APARTMENT - DAY - ESTABLISHING          A294
294    INT. PALMGREN'S APARTMENT - DAY                          294

       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.

                               SALANDER
                 Can you hear me?
                      (no indication that he can)
                 I miss our meetings.
                      (pause)
                 I'm sure you don't. Why would you?
                 I was always such a headache for you.
                 Never showing up with good news.
                 Only problems.
                      (pause)
                 I have some good news now. I've made
                 a friend. I mean one that you'd
                 approve of.
                      (pause)
                 I'm happy.

       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.

295    EXT. SPAIN - DAY                                         295
       A reporter bundled-up outside a low-rent building
       cordoned off with police tape -

                               REPORTER
                 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 -

295A   EXT. CAFE - STOCKHOLM - DAY                             295A
       The same cafe Blomkvist retreated to after his libel
       conviction.
                               REPORTER O/S
                 A man who police in Marbella, Spain,
                 have confirmed is fugitive Hans-Erik
                 Wennerstrom -
                                                              163.
                                                             163.
     

295B   INT. CAFE - STOCKHOLM - DAY                             295B

       Blomkvist is at the counter, across from a barista, but
       his attention is on the TV -
                               REPORTER ON TV
                 - shot three times in the head at
                 close range in what is being called a
                 classic gangland execution.
                               BARISTA
                 What would you like?

       Blomkvist glances blankly at the barista, then back to
       the TV -

                               REPORTER ON TV
                 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?

                               BARISTA
                 Sir?

                               REPORTER ON TV
                 Wennerstrom spent the last days of
                 his flamboyant life in solitude and
                 anonymity, locked behind the door of
                 Room 3A -
                               BLOMKVIST
                 ... Coffee and a sandwich ... that
                 one.

                               REPORTER ON TV
                 Indeed, after checking in, he was
                 never seen again - until this morning
                 when the building manager came
                 calling to collect the unpaid bill -

296    INT. TAILOR SHOP - STOCKHOLM - DAY                       296
       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.
                                                                164.
                                                               164.
       

                                 SALANDER
                It's perfect.

                                 TAILOR
                Your father?
                                 SALANDER
                A friend.
                              TAILOR
                Must be a very good friend.
                     (she nods)
                He's lucky.
297   INT. SALANDER'S APARTMENT - DUSK                           297

      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 -

298   EXT. STOCKHOLM - EVENING                                   298

      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.
                                                         165.
                                                        165.


Salander   can'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.