Threads of Hope (Tree of Life Book 6)

Customer reviews

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I am not merely punctual; I am fifteen minutes early for any and every engagement. This is how I live; it is who I am—but some things in life do not fit neatly into a schedule.

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On the day I met Maurice—September 1, —a huge storm swept over the city, and I awoke to darkness and hammering rain. It was Labor Day weekend and the summer was slipping away, but I had tickets to the U. Open tennis tournament that afternoon—box seats, three rows from center court. In I was thirty-five years old and an advertising sales executive for USA Today, and I was very good at what I did, which was building relationships through sheer force of personality. Taking clients to the Open and sitting courtside for free was just another measure of how far this girl from a working-class Long Island town had come.

But then the rains washed out the day, and by noon the Open had been postponed. I puttered around my apartment, tidied up a bit, made some calls, and read the paper until the rain finally let up in mid-afternoon. I grabbed a sweater and dashed out for a walk. I may not have had a destination, but I had a definite purpose—to enjoy the fall chill in the air and the peeking sun on my face, to get a little exercise, to say good-bye to summer.

Stopping was never part of the plan. And so, when Maurice spoke to me, I just kept going. Another thing to remember is that this was New York in the s, a time when vagrants and panhandlers were as common a sight in the city as kids on bikes or moms with strollers.

The nation was enjoying an economic boom, and on Wall Street new millionaires were minted every day. But the flip side was a widening gap between the rich and the poor, and nowhere was this more evident than on the streets of New York City. After a while you got used to the sight of them—hard, gaunt men and sad, haunted women, wearing rags, camped on corners, sleeping on grates, asking for change.

Walkthrough Menu

It is tough to imagine anyone could see them and not feel deeply moved by their plight. Yet they were just so prevalent that most people made an almost subconscious decision to simply look the other way—to, basically, ignore them. The problem seemed so vast, so endemic, that stopping to help a single panhandler could feel all but pointless. And so we swept past them every day, great waves of us going on with our lives and accepting that there was nothing we could really do to help.

There had been one homeless man I briefly came to know the winter before I met Maurice. His name was Stan, and he lived on the street off Sixth Avenue, not far from my apartment. Stan was a stocky guy in his midforties who owned a pair of wool gloves, a navy blue skullcap, old work shoes, and a few other things stuffed into plastic shopping bags, certainly not any of the simple creature comforts we take for granted—a warm blanket, for instance, or a winter coat.

He slept on a subway grate, and the steam from the trains kept him alive. And it became part of my routine to bring him a cup of coffee on the way to work. And just like that he vanished from my life, without a hint of what happened to him. I felt sad that he was no longer there and I often wondered what became of him, but I went on with my life and over time I stopped thinking about Stan.

I was not some heroic do-gooder. I learned, like most New Yorkers, to tune out the nuisance. I walked past him to the corner, onto Broadway, and, halfway to the other side in the middle of the avenue, just stopped. I stood there for a few moments, in front of cars waiting for the light to change, until a horn sounded and startled me.

I turned around and hustled back to the sidewalk. I just remember doing it. Looking back all these years later, I believe there was a strong, unseen connection that pulled me back to Maurice. It is, as the old Chinese proverb tells us, something that connects two people who are destined to meet, regardless of time and place and circumstance. Some legends call it the red string of fate; others, the thread of destiny.

It is, I believe, what brought Maurice and me to the same stretch of sidewalk in a vast, teeming city—just two people out of eight million, somehow connected, somehow meant to be friends. Look, neither of us is a superhero, nor even especially virtuous. Go back to the studio and take the dictaphone and the tweezers from the desk drawer.

Return to Claire and talk to her about the dictaphone card. Enter the studio, combine the card with the dictaphone and listen to the recording. Look at the vault in the exhibition room, then at the boards with reproductions in the studio. Go out to the courtyard and talk to Claire about every available topic. The lock will open. With the use of the tweezers, pull the threads out of the manuscript. Then look at the pieces of a map found in the manuscript. Put the pieces together to create the map: Click on the edge of a piece to turn it over. Click the RMB to rotate a piece 90 degrees.

Go to the studio and come to the photocopier. Enter the exhibition room and ask the director about the toner. He will tell you to ask the porter. Ring the bell to call the porter, then talk to him. As a result of the conversation, he will give you a new toner. Return to the exhibition room, come to the table and try to open the toolbox, which will not open.

Approach Claire and ask her about tools. Having been given the permission, take the varnish, the brush and the cloth from the box. Open the top lid of the photocopier. Clean the dirty glass with the cloth and install the new toner in the slot, where you took the empty toner from. Take the map and its copy. Come to a 3D printer and look at it. Go to the director and talk to him. Return to the 3D printer and look at all 3 lids. Take an empty container from the left slot. Go to the director again and ask him about resin for the printer.

The director will tell us to talk to the porter. Go to the porter and talk to him. Then go out to the cliff and talk to the innkeeper. Go back to the porter and take the resin. Talk to the porter about other available topics. Go to the printer and insert the container filled with resin into the correct slot bottom lid — resin slot.

Go to the cliff and talk to the innkeeper. You will be given a bucket.

Go to the exhibition room, enter the nave and take the rope from the ship. Next go to the well on the courtyard, open the lid, combine the rope with the bucket and throw the bucket into the well. Come back to the innkeeper and give him the bucket with water. In return he will give you starch. Pour starch into the empty container. Go to Claire and talk to her. Go to the studio, come to the bureau and use the key to open it. Take the dye container from the bureau. Come to the 3D printer. Next go to the innkeeper and talk to him about all the available topics.

more on this story

Come to the fence and take a piece of wire. Then go to the wall on the cliff near the passage leading to the castle and pull a coin out of the wall with the use of the wire. Go to the niche through the meeting room. Take the ladder and head right for the low relief. Place the ladder on the floor and climb it to look at the upper part of the low relief.

Chronicles of Mystery: Tree of Life Walkthrough

Remove the bottom right corner slab, make up a sentence and then return the removed slab to its place. Descend to the lower part of the low relief. Rotate the right column right 4 times, then the left column left twice. Open the hiding place and take the seeds from inside. When the conversation is over, come to the desk and take all the items. Remove the police tape from the door. To do this, you need to apply some nail varnish remover to the tape. Enter the room and come to the display cases.

Take the documents from the chair and pick up the coin from the floor. Come to the display case on the right. Return to the organiser and talk to him. He will give us the keys to the display case. Go to the case and open it with the key you received. Take the tools from inside. Come back to the hall, talk to the organiser and give the keys back to him. Come to the door and use the nail varnish to stick the tape. Look at the chronometer, which you received from the gondolier. Open the chronometer and clean it with the use of a swab and liquid silver cleaner.

Look at the chronometer again. Next soak the brush in the liquid to patinate silver. Use the brush on the chronometer. Then clean the chronometer with the cloth and examine it through the magnifying glass. Talk to the organiser about every available topic. Go outside and talk to people wearing fancy dress. Talk to the people in fancy dress again. In return for the signed book, you will receive a flare and a mask. Go to the hall and come to the shredder under the desk. Cut the mask in the shredder, then open the shredder and take the cut-up mask from inside.

Take the police tape and an empty champagne bottle from the dustbin. Take the scissors and the pliers from the crate standing nearby. Put the cut-up mask into the flare. Put the flare with the pieces of the mask inside into the champagne bottle. Go to the bay window, come to the table and take a tablecloth, a curtain and a tieback.

Come to the hatch and pull the nails out of the lid with the pliers. Next tie the lid to the window sill with the tieback. Approach the passage you created. Combine the tablecloth with the curtain in the pocket and use the rope you made on the plank. Descend to the platform. Take the stick, which is stuck near the platform.

Enter the gondola and take the matches, a broken oar and the key. Use the police tape to tie the oar to the stick. Sail to the palace and come to the bar gate. It will cause the bar gate to open. When you are inside, come to the pond and take the watering can and the bowl.

Draw water from the pond with the watering can. Come to the lawn and pick up the glove. Enter the apse and talk to the count. Come to the table on the right. Scrape the paint off the plank with the putty knife. Look at the lower shelf and take lye, polyvinyl acetate and a wire brush. Come back to the plank. Soak the brush in polyvinyl and secure the plank. Combine the glove with the wire brush and pour lye into the bowl.

Soak the brush in the bowl. Then use the brush to clean the plank. Pour water from the water can on the plank. Finally, scrape polyvinyl acetate you applied before off the plank with the putty knife. Go back to talk to the count. Then come to the window and take the piece of stone which is lying at the highest point.

Go to the relief in the middle of the absinthe. Enter the close-up view of the centre of the relief and put the piece of stone in the cavity. Rotate the third ring so as to match its symbol to the symbol in the centre. When the symbols match, release the mouse button. You should hear the sound of the mechanism. Next rotate the fourth ring so as to match its symbol to the symbol of the second ring. Now you need to match two pairs of rings. I'm writing this review with a bare bones view and you can make up your own minds whether to actually purchase this product or not.

I have no vested interest in the company or the craftsman that made it, and am only laying out things so you understand what you are going to receive. It's roughly pages that are separated into 5 sections that have been bound together with string and tied to the outside leather cover through holes in the spine. I could still smell it after pulling it out of the shipping material.

There is the cover design of a tree and the border that runs around the edge of the entirety of the leather. The book cover is made so that there is a flap that folds over the side and the whole book is tied closed with a strip of leather.

The design is pressed in using a stamp. The one I received in the mail had the tree placed off center and there were errors in the border stamping that caused some sections to collide. You can look at this two ways: I've tried to take the optimistic approach, because it's too much hassle to expect perfection for what the product is. A lot of you, who are expecting too much WILL be pissed over the quality. This is NOT like book paper. For those of you complaining of the quality, you need to understand what recycled paper really looks and feels like.

If you've ever made paper in art class by mashing construction paper into a pulp and spreading it out on a screen to dry: The pages have the consistency of that. There will be some variations in thickness and quality. You will see imperfections. If you expect anything other than that, you will be disappointed.

One reviewer likened it to writing on a paper towel. Though I would say that is extreme, it is closer than someone expecting paper like from a new novel off their shelf. I don't see it as good or bad, it just is. You're getting a hand constructed book that has a very primitive, rustic feel to it.

I personally like it for what it is and it will serve the purpose I intended it for, but those buying it may want to ask themselves if it's really what they want. If it's for a gift, is that person really into this type of thing? If it's for yourself, will the quality of the paper work with what you intend to do with it? Do you feel it's worth the money? Only you can decide. I hope this helped someone figure out what this book really is.

I hate seeing people trash things because they want the world and something doesn't live up to their expectations. Top rated Most recent Top rated. All reviewers Verified purchase only All reviewers All stars 5 star only 4 star only 3 star only 2 star only 1 star only All positive All critical All stars All formats Size: There was a problem filtering reviews right now. Please try again later. A lovely journal to own. I am very happy with my purchase.

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