gif: tgwtdt


We wanted to shoot the scene where she’s plotting her revenge of Bjurman and I wanted the idea that her world literally gets turned upside down. And I like the idea of taking a techno dolly and just flying over the top of her head and seeing her face as you see her eyes darting around as she is lost in vindictive fantasy. - David Fincher (TGWTDT audio commentary)


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.”


From around the corner ahead, Blomkvist and Erika appear. He says something and she laughs, puts her arm around his waist and lays her head against his neck scarf.

Salander stops mid-stride, ducks into an alcove under the scaffolding, waits as long as it should take them to get inside the building, then peers out again.

They’re not inside. They’ve stopped just outside the building’s entrance. They’re embracing. And the longer they stand there together, the sharper the pain stabs at Salander.

Finally they separate, but only to allow Blomkvist to unlock the door. Erika takes his hand then, and they disappear inside.

Salander 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.