was
partly because they were no longer drawing stares
from the passing publicpartly because Oster-
meyer had given up. Now he knew better. It was
the room. And why not? It was a room with good
pictures on the wallsa good rug on the ?oorand
good cigars—although not Cuban—in the humi-
282
Stephen King
dor. A lot of managers had no doubt conducted a
lot of business in here since October of 1910; in its
own way it was as New York as the blonde woman
in her black off-the-shoulder dressher smell of
perfume and her unarticulated promise of sleek
sex in the small hours of the morning—New York
sex. Mike himself was from Omahaalthough he
hadn’t been back there in a lot of years.
“You still don’t think I can talk you out of this
idea of yoursdo you?” Ostermeyer asked.
“I know you can’t” Mike saidreplacing the cig-
arette behind his ear.
The reasons for the majority of the changes are self-evident;
if you ?ip back and forth between the two versionsI’m con-
?dent that you’ll understand almost all of themand I’m
hopeful that you’ll see how raw the ?rst-draft work of even a
so-called “professional writer” is once you really examine it.
Most of the changes are cutsintended to speed the story.
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