text: > Go down
  Grady's Saloon, Billiards, and Hotel
  Sunlight glares in through the swinging saloonesque doors, only to be swallowed up by the murkiness inside. Tables and chairs, barstools along the long counter, and a room-length mirror behind the bar. There's a horseshoe tacked to the wall, too. Stairs go up to the hotel rooms on the second floor. The billiards room, such as it is, is in the northwest corner.
  Grady is behind the bar.
  
  Grady pulls out a cloth and polishes up the bar a little.
  
  > go west
  The name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.
  
  Old Dan arrives from the north.
  
  > go to the south
  Standing here in the middle of Main Street, you are directly across from the Tumbleweed Flats Sheriff's Department, which is directly to the east. Not the safest place to hang out, perhaps, considering that the gallows are right on the other side of the street--and you might as well try and avoid that particular inevitability for as long as possible. Might be a better idea to head north, back up Main Street.
  
  Old Dan arrives from the north.
  
  > Go north
  The name might be a bit of overkill--after all, Tumbleweed Flats is a town with only one street. The sun beats down from above, lighting up the dusty haze stretching the length of the street north and south of here. On either side are rows of weathered wooden buildings. Immediately to the west is Lucille's General Store; to the east is Grady's Saloon, Billiards, and Hotel.
  
  > Go north
  Now leaving the bustling metropolis of Tumbleweed Flats, pop. 59.
  The local stable is off to the northwest, just north of an empty field. To the east is the north end of the hotel, although it doesn't look like you'd be able to get by the stack of crates and barrels. A dusty road continues north out of town.
  The fiery red stallion is standing patiently nearby.
  
  > shoot the tree with the roy's gun
  You pull the trigger, and put a bullethole in the dead, rotted tree.
  
  > Ride east
  The red stallion gallops along without faltering, eating up the distance, Tumbleweed Flats disappearing far behind you.
  
  End of the road, on a fiery red stallion
  The dusty road stretches back to the west as far as the eye can see, and then some. A steep bank rises up to the southeast; you can't see what might be at the top of it.
  Sarah is here.
  Sarah's Arabian is here, snacking contentedly on a small patch of grass.
  
  > show the bottle to Sarah
  "Oh, great. So what, you're going to drink that and get all fired up for being a hero? Lucky me."
  
  > Yes
  That was a rhetorical question. (Although you sound rather positive.)
  
  > give the bottle to Sarah
  "No thanks. Although God knows we could both probably use it." She takes a look at you. Has second thoughts. "Well, maybe not both of us."
  
  > Drink bottle
  The piece of cloth is in the way.
  
  > Go southeast
  From the top of this incline, you can look back to see the dusty road stretching out of sight to the west. Over the crest of the hill, you can see the Heffer ranch house to the south--quite an impressive sight, to be honest. A hayfield opens up to the east.
  Standing guarding the front of the house is Glen Heffer's
  mean-looking henchman Large Duane. Lucky for you he can't see you.
  
  Sarah scrambles up the bank after you. "I hope you know what you're doing," she says.
  
  > throw the bottle at the hay
  You pitch the bottle into the hayfield, where it lands with a dull thud.
  
  > Go east
  Standing amidst the scattered golden haystacks drying in the hot sun. In fact, the hay is so dry it crackles under your feet as you step on it. From here, you can either go back west where you came from, or southwest toward the Heffer ranch house.
  A whiskey bottle is here.
  
  Sarah follows you into the hayfield. "What are you doing over here?" she asks.
  
  > Shout
  You let out a hearty bellow. Nothing else happens.
  
  > Go south
  You try to move, but Roy is faster, and he shoots you in the back before you can get away.
  
  > Go upward
  Roy Heffer is standing in front of you, his right hand dangling over his holster, fingers twitching nervously. Somewhere in the distance, someone strums an out-of-tune Spanish guitar.
  
  > Wait
  Time passes...
  
  Roy draws his six-shooter, yanking it from its holster and raising it toward you...
  
  Do you want to keep waiting (YES or NO)?
  
  > Y.
  Roy pulls the trigger. Catches you square in the chest. Ouch--that smarts! Not to mention the fact that it kills you.
  
  > look at six-shooter
  Old faithful, with the emphasis on the "old" part. And faithful doesn't necessarily mean accurate.
  
  Roy pulls the trigger. Catches you square in the chest. Ouch--that smarts! Not to mention the fact that it kills you.
  
  > draw
  You pull your six-shooter out of your holster.
  
  Roy pulls the trigger. Catches you square in the chest. Ouch--that smarts! Not to mention the fact that it kills you.
  
  > look at Roy
  You might want to spend less time staring, and more time thinking about the fact that you're in the middle of a gunfight.
  
  Roy pulls the trigger. Catches you square in the chest. Ouch--that smarts! Not to mention the fact that it kills you.