Take the carpet from the line, then travel to the future. Use your umbrella to lower the fire escape ladder, then climb up until you reach the roof. Go to the far right of this area and use your time travel device to travel to the past. Search the police car to get a nightstick, then return to the motorcycle area. Pick up the umbrella, then walk over to the police car and use your time travel device again. Take the screwdriver from the motorcycle tool bag, and use it on the back-lot door to the left, then go through. Walk right into the sunlight to recharge your time travel device, then use it. Use your rope on the tree branch and climb down. Smash the window with your hammer, then go outside. Head back down twice and collect the rope from around the body's neck, then go up and through the door on the second floor into an office. Head back up to the second floor and use the katana to cut the rope Gordian Knot. Open the evidence locker and get the katana from inside. Use the gun oil on the padlock, then use the paper clip to unlock it. Go back downstairs twice and enter the evidence room again.
The silent age hospital code#
Use your code on the safe to open it, and you will get a paper clip from inside. Move the picture on the wall to the left to reveal a safe. Leave this room and climb the stairs up to the second floor. Open the desk drawer and take the bottle of weapon oil from inside. Fully examine all 6 pictures on the bulletin board Suspect Zero. Take the code from the bulletin board inside. Return upstairs and use the ID card to open the red door. Use the key on the first door here, then enter the evidence room door and search the corpse inside to get an ID card. Pick up the hammer from the floor on the right, then head back downstairs. Examine the hanging man, then take the key from his belt. Talk to the injured man, and you will receive a time travel device.
Use the band-aid on the left door button to hold it down, then press the right button to open the door. Go all the way downstairs again and go to the round door. Return all the way upstairs and talk to the secretary again, who will give you a band-aid. Try to use the Polaris 9 Super Computer here Data Error. Search the lab coat to find a handkerchief, then use this on the blood trail near the round door on the right to get a sample. Use your rubber glove to fix the broken access panel, then go through the unlocked door on the right. Use the door button on the control panel, then get out at the sub-basement. Go to the far left and use your red access card on the card reader to open the elevator and go inside. Leave the office and return down in the elevator. Talk to Mr Hill to receive a red access card Working for the Man.
Talk to the secretary, then open the red doors and enter Mr Hill's office. Leave the room again, and use the blue access card on the card reader to the right, then enter the elevator. Take the blue access card from the table, and the green rubber glove from the shelf. Pick up the light bulb from the shelf and use it on the broken light bulb hanging above the table. “I never realized how technical of a singer Bowie was until we started this group,” he admits, noting a newfound appreciation for the complexity of songs like “Station to Station” and “Ashes to Ashes.Read the note, then open the orange door and go through to the supply room. Loving someone’s music and performing it yourself, though, are two very different things, as Connelly has discovered in the Sons of the Silent Age journey. “The first time I saw Bowie was when I was about 7 and he was playing ‘Starman’ on ‘Top of the Pops.’ He had the dyed orange feather cut and was wearing outlandish clothes unlike anyone I’d ever seen, and I was instantly connected to the music.” With his Christmas gift money, Connelly bought his first record, the “Golden Years” single and “played the grooves out if it.” Growing up in Scotland, he couldn’t really avoid him as a child. “I’ve listened to Bowie longer than any other singer, we’re talking 40 years now, so I’m very intimate with his catalog,” Connelly admits. “We had a Gary Numan tribute for one night only back in 1995 at the Double Door,” he jokes, but the idea of a Bowie act was something the two super fans had long kicked around, a seemingly natural fit for Connelly whose soulful croon on various solo albums had often been compared to the glam-rock icon. Connelly and Walker had done the covers thing before.
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