Read a FilmStory IP by Bjarne O. Henriksen

The flagship

The Defiant Dane

Two parts, fully developed — The War Chest and its sequel, Under Siege.

The flagship of Bjarne O. Henriksen’s writing — the biggest story on Read-a-Film and its most personal. A two-part saga of Svend Poulsen, the outlaw captain of the Gønge forests, and the Dano-Swedish war of 1657–1660, freely based on the work of Carit Etlar and on one of Denmark’s best-loved television successes, seen by millions. Around 800 pages of prose: two seasons of limited-series material — each six 50-minute episodes — fully developed and ready to produce.

Part One

The Defiant Dane

The War Chest

Before the film begins…

More than thirty years ago, I wrote Gøngehøvdingen (eng: The Defiant Dane) for television.

When the series aired on DR, as many as 2.25 million Danes followed Svend Poulsen, Ib, and their fight against the Swedish occupation forces. For me, however, the story began long before the cameras started rolling—on paper.

Now it returns to paper. But not as a novelization of the TV series.

This book is my complete version of the story. It contains scenes and storylines that could not find room in the television production at the time, and the stories and characters have been developed further with the knowledge I now have of the larger story that continues in Gøngehøvdingen 2 — Under Belejring (eng: The Defiant Dane — Under Siege).

I call the form Read-a-Film prose.

It grew out of my work as a screenwriter and exists somewhere between the novel and the film. It is told in prose, but it thinks in images, movement, dialogue, sound, rhythm, and cuts. The camera is gone, but the cinematic storytelling remains.

The idea is simple:
You should not merely read the story.
You should see the film while you read.

The story of Svend Poulsen unfolds during one of the most dramatic periods in Danish history, but this is not a history book. First and foremost, it is an adventure about people who suddenly find themselves in the middle of history—and have to decide what they are going to do about it.

Some become heroes. Some become traitors. Some simply try to survive. And some discover that history has far greater plans for them than they ever had for themselves.

So now there is really only one thing left.

The Defiant Dane — The War Chest — cover

Limited series · Season one of two · 6 × 50 min

In the winter of 1657, with the Swedes holding all of Zealand, the outlaw Svend Poulsen and his giant, perpetually hungry right hand, Ib, must move fifty thousand rix-dollars — the Crown’s entire war chest — past an occupying army to besieged Copenhagen, disguised as everything from mead barrels to a dead stag.

Comps
The Last Kingdom · La Grande Vadrouille · The Mask of Zorro meets The Princess Bride
Tags
Historical Adventure · War · Dark Comedy · Period
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The story

The winter of 1657. Karl Gustav’s army holds Zealand, and the Danish crown is one lost payroll away from collapse. Into this walks Svend Poulsen, a farmer turned guerrilla the Swedes cannot catch and the Danes can barely control — and Ib, the enormous, newly knighted former nightman whose loyalty is matched only by his appetite. The King needs a fortune in rix-dollars carried from the countryside to the besieged capital. Svend is the only man reckless enough to try.

What follows is a running campaign of nerve and disguise. The money travels hidden in mead barrels, under a woman’s skirts, beneath a wagonload of straw and finally sewn into the belly of a dead stag, while Svend and Ib bluff their way through checkpoints, inns and an entire occupying army that keeps mistaking the most wanted man in Denmark for a toothache-stricken aunt. Every plan sits one improvisation away from disaster — and Ib is usually the improvisation.

Against them stand Captain Manheimer, a German mercenary in Swedish service whose greed slowly devours his discipline, and Kulsoen — Bodil Ebbesdatter, the ragged woman the district calls a witch — who wants the money as badly as anyone and guards a secret about Svend’s own household that could ruin him more completely than any Swedish bullet. When Svend is finally taken at Jungshoved and chained to a firing wall, the rescue that saves him is also the moment the story quietly lays its real charge: a torn church-register page, a boy named Palle, and a question of parentage that no one on screen yet understands.

The Defiant Dane — The War Chest is a Danish occupation adventure with the deadpan of a satirist and the spine of a tragedy — a crowd-pleasing resistance caper that spends its first season loading a fuse it will not fire until its last.

Comparisons & craft: how it reads on screen

The governing comparison is The Last Kingdom crossed with La Grande Vadrouille: a handsome, high-stakes period-war canvas played, for long stretches, as straight-faced farce. The Swedes are a real occupying power and a genuine threat, but the series draws its comedy from their bureaucracy, vanity and thirst rather than from the people they are crushing — a distinction the whole tone depends on.

Its signature is a cool, omniscient narrator who reports absurd events with clinical calm — a pistol pressed to an innkeeper’s nose becomes “a considerably more intimate acquaintance with Swedish logic than he had wanted.” The humor lives in the gap between the flatness of the telling and the chaos being told, and it never editorializes. On screen this is the voice of the show: wry, precise, and willing to let a joke sit unexplained.

The engine room is the Svend–Ib double act — the disciplined strategist and the vast, sentimental force of nature who means well and wrecks everything — but the series is careful never to play its real losses for laughs. Ane Marie quietly defending a fatherless boy, Kulsoen’s menace, the deaths, the thwarted love for Julie: these are kept straight, and that restraint is exactly what stops the comedy from curdling.

Underneath the caper runs the architecture that made the original a classic: this was always a two-hander between Svend and Kulsoen, and always a tragedy wearing an adventure’s clothes. Part One withholds its secret as deliberately from the audience as from its hero, so that a second viewing reveals the fuse was lit in the very first episodes. As Season One of two, it reads as pure entertainment — and quietly sets the trap that only Season Two will spring.

The saga continues

Part Two

The Defiant Dane

Under Siege

Before the film continues…

This story should have been told more than thirty years ago.

After the success of Gøngehøvdingen (eng: The Defiant Dane), I was asked to write the sequel. The story was written, the scripts lay ready, and preparations for a new TV series were under way.

Then the management at DR changed.
The production was stopped.
Svend Poulsen, Ib, Palle, Kulsoen, and the others never made it back in front of the cameras.

But the story did not disappear.

For where the first tale was about how Svend Poulsen became the man who could gather a resistance around himself, this one begins when victory turns out to be no ending at all.

The peace is a deception.

Sweden is preparing a new attack. Denmark stands once again on the edge of catastrophe, and this time it is not enough for Svend to fight the enemy in the forests and on the country roads. He must find out what the Swedes are planning before Denmark even knows the war has begun again.

At the same time, another story catches up with him.
A story that began long before the war.

About Julie.
About Kulsoen.
About Palle.
And about a truth that even Svend Poulsen cannot bluff, fight, or shoot his way free of.

Like the first volume, Under Belejring (eng: Under Siege) is told as Read-a-Film prose: prose that uses the images, movement, dialogue, sound, rhythm, and cuts of film to let the story play out before the reader’s inner eye.

But where the first book was the story of how a man becomes a legend, this one is also about what it costs to be one.

For a man may be able to save his country.
It is not certain he can save his own life at the same time.

The first story was seen by millions.
The second was never seen by anyone.
Until now.

The Defiant Dane — Under Siege — cover

Feature film / limited series · 6 × 50 min

The continuation of The Defiant Dane, beloved and seen by millions — when the peace with Sweden turns out to be a trap and a second invasion gathers in secret, the Gønge captain Svend Poulsen must expose the coming attack before Denmark even knows the war has begun again, while a secret twelve years old rides quietly toward him: the one thing he can neither bluff, fight, nor shoot his way free of.

Comps
The Mask of Zorro · The Three Musketeers · The Last Kingdom
Genre
Historical Adventure · Resistance & Espionage · Swashbuckling Comedy · Tragedy
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The story

Denmark, 1658. The Peace of Roskilde has barely been signed before Karl X Gustav breaks it, and no one is less surprised than Svend Poulsen. While the court toasts a peace it desperately wants to believe in, the Swedish king is already massing for a second invasion — and this time the guerrilla captain and his band must fight a war no one can see yet. Svend has to learn what the Swedes are planning before Denmark knows the war has restarted, which means a season of espionage and sabotage run from below: an armory heist inside Kronborg, a smuggled battery of Venetian cannon stolen out from under its buyers, an invasion plan lifted in a travelling puppet theatre, a resistance recruited in Scania under cover of a Bible meeting, a prison broken open with straw dummies, a royal war-chest carried out of a fortress in cleaning buckets, and a Swedish cannon foundry on Bornholm blown off the map.

Above the capers runs the real war. As the Swedes close a ring around Copenhagen and cut its water, Svend and the Gønger keep a starving, thirsty city alive long enough for a Dutch relief fleet and a brutal February night — the great assault across the frozen Sound, where an entire population holds the ramparts in the dark. Through it all Svend courts Karen Buchwald, a noblewoman who loves him against her mother, her class, and every sensible instinct she owns, and who hangs her family’s silver seal over his heart as a charm.

But a second story has been waiting for Svend since long before this war. The witch Kulsoen — brilliant, beautiful, and twice left for dead by the people who made her a monster — has spent twelve years holding the one weapon he has no defense against. The boy Palle, raised as a foundling by Svend’s late first wife, is in truth Svend’s own son by Julie Parsberg, the noblewoman he loved and lost: a cradle swapped at birth, a dead child buried under the wrong name, a sister tending a grave for twelve years that holds someone else. Kulsoen waits until Svend has won his war and stands on the threshold of marrying his lady — then hands him the truth and lets the silence do the rest. On the day he finally reaches the top of the only ladder he ever wanted to climb, Svend Poulsen discovers the one lie he cannot tell: the one that would let his own son stay a stranger.

Comparisons & craft: how it reads on screen

The cleanest screen lane is The Mask of Zorro crossed with The Last Kingdom, driven by the caper-and-conspiracy engine of The Three Musketeers. Zorro supplies the shape of the thing — a masked lowborn folk-hero at the head of a resistance, swashbuckling set pieces, irreverent wit, and a romance that keeps running head-on into the wall of class. The Last Kingdom is the more serious comparison: a Scandinavian war of national survival seen through a common-born outsider who moves among kings and nobles without ever being allowed to become one, where the cost of victory is counted in bodies and winters. The Three Musketeers names the mechanism underneath both — a loyal band, secret alliances, stolen papers, assassination plots, and friendship tested against power.

The central craft device is a comic trickster plot running directly on top of a tragic one — and a hero who can escape anything except the truth. Svend Poulsen is a con man in a soldier’s coat: disguises, bluffs, forged authority, and improvised capers are how he wins, and the first two-thirds of the story is a deadpan machine of them. That is exactly what makes the back half land. Kulsoen is built as the anti-Svend — the equally clever, equally lowborn figure the system turned into a witch instead of a captain — and her revenge is not a blade but a fact, the one currency his cunning cannot counterfeit. The series runs a long fuse of dramatic irony: the audience watches Else Parsberg sit ten feet from her own nephew for a season, watches Svend raise his own noble blood as a stable boy, and waits for the moment the truth is finally spoken aloud in the worst possible room.

The war, as in this author’s other work, is deliberately fought from below. Kings and colonels move armies, fleets, and assassination plots; Svend’s men move through kitchens, wells, water pipes, manure wagons, brothels, puppet booths, and the servants’ stairs. A cut water main, not a cavalry charge, decides whether Copenhagen holds. A puppet theatre steals an invasion. A foundry falls to improvisation. These are never comic detours from the plot — they are the plot, the story insisting again and again that the people history leaves out of the chronicle are the ones who actually win its battles.

The romance resolves into the series’ thesis image. Karen’s silver seal — proof of a bloodline that opens every door closed to Svend — physically stops a bullet over his heart, then is hammered flat in the same blow: an aristocratic crest that can save a common man’s life but can never make him noble, and afterward can prove nothing. When the wedding collapses, it collapses on exactly that fault line. Karen, who thought she was brave enough to marry across her class, discovers at the altar that she loved the idea of crossing the line more than she can bear its reality — “I am not brave, Svend. I am merely modern” — and leaves him the ruined seal rather than take it back. Svend wins his country and loses his marriage in the same hour, and learns that the only way a man like him ever gets inside the gate is not through the gate at all. It is through his son.

Like the saga’s other chapters, the ending stops at the human scale rather than the monumental one. The storm on Copenhagen is survived, Denmark holds, Karl Gustav is thrown back — and then the camera walks away from the victory and sits down on a church step in the thin March sun, where a lowborn man and the half-noble boy he didn’t know was his work out, quietly, what they are to each other now. “Most true things are both,” Svend tells him — sad and happy, won and lost, at once. A tattered Swedish banner ends the series doing honest work as a windbreak at a cattle trough, and the Gønge March rises over a spring that cost more than anyone in the church that day will ever fully reckon. It is a complete emotional ending that leaves the legend intact and the man changed.

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Both parts — the complete two-season story, delivered as prose.

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