"The first draft of IV was somewhat different from the version that was eventually published. The boy reporter guesses Louis's age to be around thirty-five rather than twenty-one, and much of Louis's story remains the same- with the exception of his discovery that Lestat wrote poetry as a boy- until he and Claudia arrive in Eastern Europe.
Although Louis and Claudia made plans to go directly to Paris, they stay there only two days, for Claudia's reading of vampire lore urges them toward the superstitious lands of Hungary and beyond. The description of their travels is brief, but the vampiric discoveries are the same as in the published version: mindless, animated corpses. Louis realizes that this is what Lestat became after he was resurrected from the swamp, and Lestat is never heard from again in this version.
They return to Paris, take a flat on the boulevard du Temple, frequent art galleries, and attend parties and balls. Soon they see a lone vampire on the banks of the Seine, then a pair walking, and another in a theater. These vampires flee from them, so Louis and Claudia make themselves more conspicuous in the hope of inviting the vampires to approach them.
One night they return to their rooms to find one female and nine male vampires, all dressed in black. These vampires are rather inscrutable, but they invite Louis and Claudia to a house on the Faubourg St .Germain. The house is a musty old mansion that is staffed by elderly human servants who hope to be made vampires one day. Inside, Louis and Claudia see paintings similar to those described in the subterranean room in the Theater of the Vampires. They are met by Armand, who invites them to a ball, where he ladles animal blood from an ornate cauldron into crystal goblets.
About twenty vampires enter the room and form an oval. They recite from Baudelaire's poem, "Les Fleurs du Mal," which offers images of hell, degradation, and death. Louis believes that the vampires must be connected to Satan in some fashion, which gives him some small comfort: he is about to uncover answers to his pressing theological questions.
Two servants then bring in a blond girl, and the scene is a repeat of that in the Theater of the Vampires. She begs for her life, but succumbs to the death they offer, and is passed around. Louis drinks from her, although he is horrified at the orgy of feasting. Armand then takes Louis to a bedroom where another mortal woman is sleeping, and Louis crawls in with her and drinks from her as she sleeps. Louis then engages with Armand in a theological discussion similar to that in the published version of IV. It becomes clear to Louis that Armand has no knowledge of God or Satan, for Armand describes himself as merely part of the natural rhythms of life and death.
Later Louis observes the coven's ceremonies and mannerisms: they prize conformity, abhor wasted opportunities, and delight in provoking one another with elaborate dares and challenges. Also, the making of a new vampire is for them a communal act, involving a democratic process. Louis remains aloof and detached from this coven. He does not like what he sees of their rigid rules. But Claudia quickly exchanges her lavender dresses for black and allows her hair to be dyed white so that she fits in with the coven. She also befriends three brothers who teach her how to torment priests.
When the other vampires learn that Claudia killed Lestat, they decide that his death was just, and there are no punitive consequences; Claudia does not die in this version of the story. However, she does leave Louis for vampires who seem to her to be more her own kind. Left on his own, Louis wanders around Paris alone. One night Armand catches up with him and asks why Louis has shunned him. Louis insists he is completely taken with Armand but does not feel kinship with the rest of the coven. Armand leaves them for Louis. He tells Louis how he was made a vampire in Venice at the age of twenty-five and how he lived with his vampire maker/lover for over a century. They leave Paris together and travel the world.
Louis convinces Armand that what they do is evil, and Armand agrees to go into the sun with Louis and destroy himself if that is what Louis wants. However, Louis does not really desire this, and he eventually gives in to pressure from Armand to go to New Orleans. There he learns how to use the cemeteries to find Armand's favorite victims: those who want to die. One poignant scene describes a mother one year after the death of her daughter. She has also lost her mother and cannot conceive of continuing with life without these two. Time has given her no reprieve, and she suspects that life is just not worth it. It is the expression of Rice's own despair at the time (1973).
Louis admires Armand's ability to draw close to such victims, but he prefers those who struggle to hang on to life. He then also informs the boy reporter that New Orleans was the place of his greatest suffering as a vampire, for it was where he met his mortal love. As tantalizing as this piece of information is, the tale ends here, and the identity of this character is not made known. The boy realizes that dawn is approaching and backs out of the room, hoping Louis will not notice.
By the time he reaches his car, Louis is there, angry that the boy had kept him talking simply to keep his mortal body safe, and he wants the tapes back. Armand arrives and tells Louis that the boy will do with the tapes what Louis wants done: he will make them public. Louis and Armand get into a cab together, while the boy goes to the radio station to listen to what he has recorded."
Interesting post here about older AGoT drafts. The whole thing is a good read thought I disagree on some aspects as usual.
I have always argued that Sansa's story is Littlefinger and the resolution of that plot line.
The original outline had Sansa marrying into the Lannister family and most probably killed off by Jaime Lannister on the way to the Iron Throne. According to these drafts it looks like the Lannisters (Cersei and Jaime) were also in cahoots with respect to Jon Arryn's death and that whole Vale subplot. It would have been a more concise plot, restricting the villainy to the Lannisters.
However, GRRM clearly expanded on the story, introducing Littlefinger into the mix and at some point connecting him to the Vale, Lysa and Jon Arryn. And with LF getting build up, instead of being killed off by the Lannisters Sansa's plot expanded as well and she is now the POV character into LF and the whole Lysa murdering Jon Arryn subplot.
It's changes like this that had this series ballooning from the originally imagined trilogy to this unfinished mess with the story being barely one third finished over 25 years.
Shoutout to that draft of the destruction of the Two Trees in the book of lost tales where it is Vana, not her sister Yavanna who is primarily responsible for the creation of Laurelin and Telperion.
When the trees are destroyed by Melkor, it is Vana who is able to rekindle the last bit of light to create the fruit which would become known as the sun. However, in focusing more on the loss of her beloved trees rather than chasing after Melkor, he is able to escape to Beleriand.
In recompense, Vana cuts her hair short and uses the tresses to create the sails for the sun-ship used by Arien, her handmaiden.
It really expands on Vana's character aside from just being Yavanna's little sister and I really wish Tolkien had left at least some of it in his finished version!
Breathing life into ‘FLATLINE’ - Like using a defibrillator on a flatlining patient, the creators of “Doctor Who Companion: The Twelfth Doctor” have revived the series 8 episode Flatline. In volume #3 of the magazine dedicated to Peter Capaldi’s first season as the Time Lord, DWC provides some insight and deleted dialogue that may be of interest to many whouffaldi fans. Let’s take a look:
1) Clara’s hats - In the second draft of Flatline, after the opening credits, a bored Doctor watches Clara try on hats in the TARDIS wardrobe. It seems an Octopod had caused Clara to drop hers into a black hole and she blamed the Doctor for the loss of her favorite hat.
In order to pacify his Impossible Girl, the Doctor sets the TARDIS coordinates to get Clara some replacement headgear. As the TARDIS reaches it’s destination we see an earlier Clara - Clara 2 - struggling with the Octopod and losing her trilby. But, this time, the Doctor swoops in and catches her hat and returns it to its owner. Ah!
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2) “That’s my girl” - Knowing that the gruffy, old Twelfth Doctor still considers Clara to be “his” girl is cute given that Danny Pink was still very much in the picture at the time.
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3) The missed kiss - The fact that Clara kissed the “siege-mode” TARDIS before implementing her plan is adorable. The final version showed Clara patting the top of the box but this version would have been so much better.
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4) Another hug - It seems that we missed out on another hug. Maybe Peter really is as reluctant as Twelve when it comes to hugging. Who knows?
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5) “An owl fighting with a whippet”- Other highlights from the magazine include the multiple versions of Danny Pink’s phone call to Clara and how mundane they sound compared to Clara’s adventure with the Doctor. In early versions, Danny is seen in a kitchen making chilli and calling Clara to ask if they have any kidney beans. In another, he is sitting in the park watching the old people and the ducks and the overflowing trash bins. All the while Clara is fighting for her life in a bubble chair with Rigsy. In still another draft, Danny asks Clara outright, “So you’re not late for any other reason. Like, say, someone of our mutual acquaintance who looks a bit like an owl fighting with a whippet?”. To which Clara continued to lie to both Danny and the Doctor.
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All in all, it was nice to see what was kept in and what was left out and all the changes a script like FLATLINE goes through before the final version airs. Thanks to DW Magazine for taking us behind the scenes...
Was Elsa's original storyline is being an outcast princess that lived in Anna's shadow? Leaving her to be bitter and jealous so she attacked Arendelle to claim her throne? That's why people have been comparing her to Cass in Tangled series but then again, some people said Elsa was intended to be pure evil with no relation to Anna at all.
I'm not sure what you're talking about.
If you mean what the first Frozen was supposed to be based on way early drafts, being honest I don't remember much of it.
But I do remember Elsa was supposed to be a villain. I think yes, Elsa and Anna weren't related in early ideas. It was when the story was revisited to finally work on a movie that through new ideas they moved on to making them sisters while Elsa was still a villainous character.
So, I looked up to get an idea of just how often Eric Kripke tweaked Supernatural’s Pilot, and found one draft from ‘04 on Superwiki. It’s absolutely fascinating, only 8 pages in, to see how different and yet similar the early and final drafts are. Highly recommend any interested to look it up.
