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CONTENTS WARNING Before playing this game, read the Xbox 360TM Instruction Manual and any peripheral manuals for important safety and health information. Keep all manuals for future reference. For replacement manuals, see www.xbox.com/ support or call Xbox Customer Support (see inside of back cover). CONTROLS OF THE PROFESSIONAL . . . . . . 2 GETTING INTO THE GAME . . . . . Profile Management . . . . . . . Difficulty . . . . . . . . . . . . . . . A Manual for the Professional Notoriety . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 3 3 3 4 Important Health Warning About Playing Video Games Photosensitive Seizures A very small percentage of people may experience a seizure when exposed to certain visual images, including flashing lights or patterns that may appear in video games. Even people who have no history of seizures or epilepsy may have an undiagnosed condition that can cause these "photosensitive epileptic seizures" while watching video games. These seizures may have a variety of symptoms, including lightheadedness, altered vision, eye or face twitching, jerking or shaking of arms or legs, disorientation, confusion, or momentary loss of awareness. Seizures may also cause loss of consciousness or convulsions that can lead to injury from falling down or striking nearby objects. Immediately stop playing and consult a doctor if you experience any of these symptoms. Parents should watch for or ask their children about the above symptoms--children and teenagers are more likely than adults to experience these seizures. The risk of photosensitive epileptic seizures may be reduced by taking the following precautions: · Sit farther from the television screen. · Use a smaller television screen. · Play in a well-lit room. · Do not play when you are drowsy or fatigued. If you or any of your relatives have a history of seizures or epilepsy, consult a doctor before playing. UP CLOSE & PERSONAL . . . . . . . . . . . . . . 4 AGILITY . . . . . . . . . . . . . . . . . . . . . . . . . 8 Climbing & Scaling . . . . . . . . . . . . . . . . 8 SUBTERFUGE TECHNIQUES . . . . . . . . . . . . 9 Disguises & Concealment . . . . . . . . . . . 9 INGRESSION . . . . . . . . . . . . . . . . . . . . . . 10 Doors, Locks & Security . . . . . . . . . . . 10 Distraction . . . . . . . . . . . . . . . . . . . . . 12 TOOLS OF THE TRADE . . . . . . . . . . . . . . . 13 Firearms, Situational & Equipment . . . . 13 COMPENSATION . . . . . . . . . . . . Weapons & Tools . . . . . . . . . Cleaning . . . . . . . . . . . . . . . . Recovering Surveillance Tapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 17 17 18 POST MISSION . . . . . . . . . . . . . . . . . . . . 18 GAME CREDITS . . . . . . . . . . . . . . . . . . . . 21 MUSIC CREDITS . . . . . . . . . . . . . . . . . . . 23 FAMILY SETTINGS These easy and flexible tools enable parents and caregivers to decide which games young game players can access based on the content rating. For more information, go to www.xbox.com/familysettings. 2 3 CONTROLS of the PROFESSIONAL GETTING INTO the GAME PROFILE MANAGEMENT Before embarking on a career as a Hitman, you must first prepare a profile. The profile keeps a record of your progress and preferences, along with weaponry choices, funds and other equipment and items you acquire. From the PROFILE MANAGER screen, choose CREATE PROFILE and enter a name for the profile. If you have a previously created profile, you can select this to resume the career. You can also delete profiles you no longer want. DIFFICULTY BUTTON ACTION Move character; Zoom map; Highlight menu options Throw item Aim Open/Close sniper scope; View Mode switch Zoom sniper scope/binoculars; Scroll through actions/items; Highlight menu options Scroll through maps/inventory Drop item; Exit map; Exit legend; Cancel (tap) (hold/release) (tap) (hold/release) (tap) (hold) & hold) Holster/Unholster weapon Open/Close inventory Pick up item Pick up list Carry out action; Confirm View action list Crouch; Sneak Map Fire; Use weapon; Close combat Reload weapon Objectives Start/Pause game BASIC · EXPERT · NORMAL Once you've created a profile, you will then choose a difficulty level: · ROOKIE For the inexperienced, and those new to the world of the assassin. There are no limitations on how many saves you can make while attempting a mission. Suitable for those comfortable with contract killing. Each mission allows seven saves. For the practiced and experienced. Only three saves per mission are permitted. For the true professional only. No saves are permitted once a mission is in progress. L L (click, hold/release) C C (click) l */@ l $/^ Y X B A · PROFESSIONAL A MANUAL for the PROFESSIONAL This manual provides insight into the mind and practices of the professional Hitman. This manual refers to the Hitman as "the professional." It explores the complexities, skills and the intricacies with which "the professional" conducts his craft. The professional techniques outlined in this manual vary in complexity, and are graded by difficulty using the following ranking system: w (pull y x z < > HITMAN TECHNIQUES ADVANCED 1 2 3 4 5 4 NOTORIETY ANONYMITY, THE DISGUISE OF THE PROFESSIONAL Longevity in the profession is dependent on transparency in the world. The professional seeks solace in a world where the only way to carry out this sort of work is with anonymity. · The professional avoids the blood bath wherever possible, as this attracts the unwanted eyes of the law or multiple witnesses and an audit trail to his door. · If a witness lives, the professional's notoriety increases. The professional negates this by making sure he is not discovered on a job, and that no witnesses or clues are left on the scene. · When the professional takes civilian lives, the invariable result is taped TV footage and witnesses at the scene of the crime. When this happens, the professional gains notoriety. As notoriety increases, the ease with which the professional can carry out his next contract decreases. · For further insurance against discovery in areas covered by TV cameras, the professional can make sure to destroy all video-surveillance tapes. · The professional can assess his successfulness and his notoriety following a contract through the media. If there have been witnesses, the newspaper is his best way of finding out. The professional should look out for newspapers while on location. These may detail previous targets and missions, and may even give a clue to the professional's identity. 5 THE PUNCH While the victim is dazed, use to position yourself in front of your target, then press pull to punch. L x DISARMING Use to position yourself in front of the armed victim, then pull to disarm the person. L x Note: During the struggle, it's possible that the firearm will go off accidentally. CONCEALING WEAPONS Whenever possible, the professional carries out his work using tools that can be concealed on his person. He has a number of tools at his disposal that, when concealed, can go undetected in most public areas. Use to walk toward the mark, hold X to access the inventory and then select a firearm. Pull to discharge the firearm, then tap X to holster and conceal it. L x UP CLOSE & PERSONAL CLOSE COMBAT The professional uses close hand combat skills to eliminate the mark with minimum noise and when dealing with unforeseen circumstances. The majority of these skills are ideal in firearm-restricted areas. FIBER WIRE The fiber wire is the most difficult of your weapons to use but the easiest to conceal. It is also the quietest and most efficient tool to use to avoid raising an alarm. Select the fiber wire from inventory, then pull and hold to tighten the fiber wire and automatically enter sneak mode. Use to maneuver behind the mark, then release to strangle the victim. HEAD USE Use to position yourself in front of the victim, then pull to head butt your target. L x x x L Note: If you are spotted or you fail to execute this move in one fluid movement, your intended victim may become alerted, and attempt to raise an alarm or attack! 6 ELEVATOR The professional often looks for secluded areas away from TV cameras and civilian witnesses to eliminate a guard or mark. Elevators provide an excellent space in which to do this. While in an elevator, access the roof hatch by pressing pull A. Equip the fiber wire from inventory, and then look toward the open hatch. While a victim is visible below, press A to strangle and pull the mark up and out of the elevator. 7 POISON The professional often studies behavioral patterns, and then uses poison to eliminate the mark with clinical precision from a safe distance. Stand in front of the food or beverage, open the inventory and select the required syringe. Use to aim the crosshair at the food or beverage, and pull to poison the item. x C Note: The professional will use any means at his disposal to gain the strategic advantage required to successfully execute his contract. HUMAN SHIELD When backed into a corner, the professional must take every advantage to safeguard his exit from the scene; this may mean using a human life as a protective shield. Equip a concealable firearm from inventory, then approach the victim from behind and press A to grab the mark and use him as a human shield. KNIVES Knives are another silent, easy to conceal, efficient means for the professional to eliminate the mark. Select the knife from inventory. Pull and hold to enter sneak mode, and sneak toward the mark. When you're behind the victim, pull to silently slit the mark's throat. w x To throw a knife, use to aim at the the victim, click and hold , then release to kill your mark. C L L to reload Press the firearm while holding a human shield. z SYRINGES The professional uses two types of syringes. The sedative syringe (non lethal) is an effective means of sedating guards and civilians obstructing your path. This reduces your notoriety by limiting the amount of civilian casualties. Use the poison syringe (lethal) either to eliminate a mark directly or to administer poison to food and drink, allowing you to terminate the mark from a safe distance. Select a syringe type from inventory, and then pull and use to sneak up behind the victim. Once behind the mark, pull to inject poison into the victim's neck. When out of danger, press A again to knock the human shield unconscious, or press Y to push the human shield to the floor once his usefulness is over. w x L 8 JUMPER The professional can use the veil of suicide when offered a huge height and a target. Walk up behind the mark. When you're close enough, pull or railing. 9 WALKING A LEDGE Approach the ledge, then push toward it to automatically climb onto it. x to push the mark over a ledge CLIMBING DRAIN PIPES Approach the drainpipe, then push toward it to automatically climb onto it. Push */@ to ascend/ descend. Pull to drop off the drain pipe. AGILITY TRAVERSING THE ENVIRONMENT The professional looks for the most anonymous path through the environment and will exhaust all possible avenues of access to the mark in preparation for a contract. L w CLIMBING LADDERS Approach the ladder, then push toward it to automatically climb onto it. Push */@ to ascend/descend. Pull to drop off the ladder. w L CLIMBING & SCALING JUMPING WALLS Using , first approach the wall, then push forward toward it to automatically jump it. L SUBTERFUGE TECHNIQUES DISGUISES & CONCEALMENT The professional will often apply subterfuge techniques to evade detection and introduce the element of surprise to an unsuspecting mark. JUMPING BALCONIES Using , approach the balcony, then push forward toward the edge to automatically jump across it. L DISGUISES The professional seeks anonymity on a contract, acquiring disguises from rooms and changing areas, and opportunistically from the people wearing them. Disguises allow the professional to infiltrate and move undetected through areas of high security. Similarly, when dressed as a worker, the professional carries the tools of that profession and can use them as weapons without raising suspicion. For example, as a workman the professional will carry hammers and nail guns; as a gardener he will carry shears; and so on. Stand near a dead or unconscious body, then press into the disguise. CLIMBING THROUGH WINDOWS Using , approach the open window, then push forward toward it to automatically climb through. L B to change 10 CONCEALING BODIES The professional carries out his work exercising discretion. When unplanned terminations are made during a contract, the professional quickly seeks out a hiding place to conceal the body or bodies. Stand near a dead or unconscious body and press Press Y to drop the body. 11 SURVEILLANCE The professional will often scope out a room before entering it, negating any unnecessary surprises and ensuring that nothing is left to chance. Using , approach the door. Pull and hold to crouch in front of it, then press A to look through the keyhole. Press A again to exit keyhole view. A L w to begin dragging it. DISPOSING OF BODIES On more complicated contracts, unplanned casualties may occur. These terminations can jeopardize cover, alert security and arouse suspicion in the mark. The professional avoids this at all costs, quickly adapting to the environment, disposing of bodies in freezers, wardrobes, showers and badly lit areas. Stand near a dead or unconscious body and press A to drag it. Press A to open the lid of a container, then press A again to dump the body inside. COMMUNICATION The professional often applies subtle communication techniques on staff members to gain layout and location information. Walk up to the person and press to initiate conversation. A LOCK PICKS The lock pick is a default tool used by the professional on every job; it is easily concealed and is not detectable by hand-held or walk-through detection devices. The professional can also purchase more enhanced lock picks for slicker, speedier access. Approach a locked door and press INGRESSION DOORS, LOCKS & SECURITY The professional is an expert locksmith with a number of specialist tools and distraction techniques at his disposal to gain access to the most highly secured areas. A to begin picking the lock. KEY CARDS & READ/WRITE DEVICES In areas of high security, the professional requires access key cards to gain access to the mark. You can steal key cards from rooms or security when on a contract. Approach the locked door and press and open the door. SURVEILLANCE & COMMUNICATION TECHNIQUES Knowledge is integral to the professional's survival. Every detail is meticulously researched so that all possible scenarios, exits and escape routes are thoroughly explored. A to equip the key card 12 BREAKING LOCKS Things occasionally go wrong on a job and the professional needs to gain quick entry to an area without time to use a lock pick. When faced with no other option, you can gain access by shooting the door lock. (This only works on conventional door locks and not on key card areas.) This is the riskiest solution as the noise of shooting the lock may alert security or result in discovery of a damaged door. Select a firearm from inventory, walk up to the door, and use to aim the crosshair at the lock. Pull to fire and break open the lock. 13 MANIPULATING LIGHT The professional can use a firearm to shoot out lights and shut down power junction boxes to plunge an area into darkness, forcing security to investigate. The professional will manipulate light wherever possible to remain anonymous. Stand in front of the switch or junction box and press A to plunge the room or area into darkness. You can also destroy lights. Equip a firearm from inventory, use to aim the crosshair at the light source and pull to fire a shot and destroy it. x1 C x C HIDING IN THE CLOSET Stand in front of the closet and press A to enter it. Press A when inside the closet to exit. TOOLS of the TRADE Tools are the only things in the professional's life that can be truly relied upon. The professional studies and masters each of his tools so that he can use the correct application on every contract -- guaranteeing anonymity and minimum exposure in the field. FIREARMS, SITUATIONAL & EQUIPMENT DISTRACTION Using a range of distraction techniques, the professional gains extra time on a contract and access to high security areas. PISTOLS & HANDGUNS The professional opts for the pistol and handgun for their power and size. Pistols and handguns are easily concealed, and once silenced become a highly effective means of eliminating the mark. The professional uses these weapons only in close proximity to the mark, since they offer limited clip capacity and accuracy over long distances. COINS & THROWN ITEMS The professional will often throw an item such as a coin into a guarded area to force security to investigate the created distraction. The professional often uses these techniques to lessen civilian and security casualties, or to enable an undetected passage into high security areas. Select a coin from inventory (or equip another small item to throw) then click and hold to prepare to throw. Use to aim the crosshair, then release to throw the item. ASSAULT RIFLES The professional opts for assault rifles as an option only when cornered or in clutch situations. The size and noise of the assault rifle makes it very difficult to conceal. In its favor, the assault rifle offers a range of 300m but must be used with single shot and burst fire to afford any kind of accuracy. L L C 14 SUB-MACHINE GUNS The sub-machine gun offers the professional a high rate of fire and lightweight maneuverability when in close proximity to the mark. The sub-machine gun is the least subtle choice when on a job and doesn't offer the accuracy or anonymity of a silenced weapon. 15 RIGGING BOMBS An explosive device placed on the fixing point of a chandelier not only eliminates the mark successfully, but is also initially perceived as an accident, ensuring your smooth exit from the scene. There are other ways a professional can choreograph a hit to be perceived as "accidental." See ENVIRONMENTALIST below for an example. SHOTGUNS The shotgun is devastating in close quarters but makes a lot of noise! The professional will only resort to using this type of weapon when backed into a corner or as a last resort. THE FALL The professional looks for opportunistic suspended items that could demolish a mark. These can be brought crashing down with clever use of explosives, or by shooting glass or fixture points using a high-powered weapon such as a sniper rifle. SNIPER RIFLES The professional's choice, the sniper rifle is the most powerful and accurate means of eliminating the mark. This weapon can be silenced and used long distance from a safe vantage point, then broken down into a concealed briefcase. The sniper rifle is the favorite weapon of the professional and, when mastered, is the deadliest ally. ENVIRONMENTALIST The professional has an eye for ingenious ways of dressing a hit as an accident. For example, when in a kitchen, the professional notices the gas burner and its explosive potential. He weighs every opportunity and makes the hit look like a freak accident whenever possible. BINOCULARS The professional's best tool for surveillance work. Binoculars provide an excellent tool for surveying and spying on the mark's behavioral patterns from safe distances. MISSION BRIEFING The professional carries the mission briefing throughout the contract so that he can refer to objectives and mark information at will and leave nothing to chance. REMOTE BOMBS The remote bomb is another useful tool which the professional can plant in a mark's room and then detonate from a safe distance. The professional uses explosives intelligently and strategically to eliminate the mark. MAPS Detailed maps and intelligence are paramount to the success of a contract. The professional uses maps as his main navigational means. The map's attention to detail ensures that he never gets lost and that detailed intelligence on guards, security and the mark's location are always at his fingertips. The professional can buy additional info and intel on more complicated jobs to ensure that everything goes smoothly. This additional data is always included on the map. 16 17 WEAPONS & TOOLS The professional often elects to purchase upgrades in the form of specialized weapons. These weapons are always untraceable, so they have to be ordered through a trusted fence before purchase. The professional chooses the highest-quality tools and weapons on the market: · ADVANCED LOCK PICKS Allows the professional to pick locks faster; allows access to key-carded doors without the relevant key card; requires additional time. Incremental zoom, with better overall vision capabilities and digital distance counter. Restores partial health. Allows the professional to absorb some projectile hits. Provide a small health boost. COMPENSATION PAYMENT The professional takes payment in unmarked bills, which he can easily transfer to an offshore bank account, avoiding detection. The professional is paid according to risk and the social or political prominence of the mark. The higher the profile and complexity, the higher the price. The professional often receives bonuses for executing a contract quickly, smoothly and without trace. The professional can earn additional cash by retrieving suitcases and money from safes on the scene. Note: Replaying a mission can earn you more money; however, you will only receive the difference between the initial and new earnings. SPENDING The professional leads a frugal existence, preferring not to draw attention to himself with extravagant spending. The professional can choose to spend money on new tools, information and -- when required -- cleaning services on contracts that went badly with high civilian casualties. · ADVANCED BINOCULARS · ADRENALINE · KEVLAR VEST INTELLIGENCE Before beginning a contract, the professional can choose to purchase information aiding completion of mission objectives and concerning the mission as a whole. He can also purchase target location information (room location, behavior, next expected location) and access information (disguise requirements, location of off-limit areas, key-carded doors, frisk and search points, possible smuggle opportunities). The professional often tries to purchase structural information for the location in question. · PAINKILLERS CLEANING The professional performs all his own cleaning where possible, but occasionally is forced to hire external help if he has had to make an emergency exit when a contract has gone badly. He can take care of non-disposed-of bodies and use bribes to reduce notoriety. PURCHASING AGENCY PICKUPS The professional can purchase additional items to aid completion of the contract. These are placed and marked on the map as Agency pickups. The Agency may sometimes employ a contact to deliver valuable information. Note: Replaying a mission and finishing with a lower notoriety value than originally awarded in turn lowers your current notoriety level. 18 RECOVERING SURVEILLANCE TAPES 19 NOTES The professional meticulously plans the contract ahead using information provided in the Agency's mission briefing. From the briefing, the professional knows where TV cameras are located, but sometimes under pressure he is forced to perform an unplanned action that may be caught on camera. The professional always (circumstances allowing) carries out his own cleaning on an untidy contract. The professional locates the TV control room and removes all evidence. Stand in front of the recording unit and press A to remove the tape. POST MISSION Once the professional has successfully completed a mission, he will often need to address several expenses. These cover a number of different circumstances, for example the retrieval and replacement of items left at the scene, such as suits and custom weaponry. It may also happen that potential witnesses have been left at the scene. These can both jeopardize your anonymity and make future contracts that much harder to complete efficiently. Additionally, the unlawful killing of innocents and law enforcement officials will raise the profile of completed missions. This is also an expense to the professional; the Agency charges him for the killing of innocent civilians and officers in duty. Unnecessary publicity is bad for business and this contributes to the final Damage Control penalty, displayed post mission. The professional can handle all expenses (both mandatory and optional) upon successful completion of the mission. 20 21 NOTES GAME CREDITS IO-INTERACTIVE Game Director Rasmus Højengaard Animators Barbara Bernád Frederik Budolph-Larsen Jens Peter Kurup Søren Lumholtz Frederic Poirier Martin Poulsen Thomas P Theede Additional Animators Anders Haldin Gabor Horvath Craig Kristensen Martin Madsen Doron Meir Simon Sonnichsen Kim Zoll Technical Producer Martin Amor Art Director Tore Blystad Gameplay Director Peter Fleckenstein Gameplay Scripters Jesper Donnis Jonas Lind Thomas Løfgren Jacob Mikkelsen Additional Sound Designer Peter Wendelboe Hansen Producer Helle Marijnissen Programmers Jens Bo Albretsen Brian Meidell Andersen Marcell Baranyai Carsten Brügmann Zoltán Buzáth Bo Cordes Neil Coxhead Theo Engell-Nielsen Chris Gilbert Martin Harring Morten Heiberg Michael Holm Morten Suldrup Larsen Pèter Màlnai Peter Wraae Marino Sandor Nyako Stein Nygård Lars Piester Mads Østerby Olesen Rasmus Sigsgaard Jens Skinnerup Hakon Steinø Jeroen Wagenaar Additional Engine Programmers Thomas Jakobsen Ulf Johansen Steffen Toksvig Sound Designers Ivan Brandt Thomas "Tomzen" Dietl Simon Holm Michael Ziegler Additional Script Writer Morten Iversen Engine Programmers Rune Brinckmeyer Micky Kelager Christensen Kasper Engelstoft Károly Faragó David Guldbrandsen Karsten Hvidberg Michael Bach Jensen Asger Mangaard Mircea Marghidanu Allan Merrild Morten Mikkelsen Kasper Høy Nielsen Martin Pollas Jon Rocatis Henning Semler Gyula "Luppy" Szentirmay Torsten Kjær Sørensen Andreas Thomsen Music Composed and Produced by Jesper Kyd (Score) Performed by the Budapest Symphony Orchestra (Score) QA Petronela Cimpoesu Hugh Grimley Klavs Kofod Janus Rau Oliver Winding Additional QA Natasza Ashkanani Christian Egense Mikkel Havmand Frederikke Hoff Uffe Holm Tatiana Højengaard Marja Konttinen Jakob Mygind Thomas Møller Kristian Rise Jakob Rød Artists Jacob Andersen Tobias Biehl Marek Bogdan Svend Christensen Timothy Evison Peter Fleckenstein Thor Frølich David Giraud Allan Hansen Bo Heidelberg Tom Isaksen Søren B. Jensen Sascha Jungnickel Jesper Vorsholt Jørgensen Rasmus Kjær Sebastian "Vlad" Lindoff Oskar Lundqvist Stephan Nilsson Mads H. Peitersen Anders Pedersen Jesper Kieler Petersen Alexander Pshenichniy Birgitte Bay Overgaard Thomas Storm Gyorgyi Szakmar Script Writer Greg Nagan Additional Programmers Peter Andreasen Jesper Christiansen Henrik Edwards Martin Gram Martin Lütken Michael Juel Nielsen Management Janos Flösser Morten Borum Support Mette Agerbæk Else Andersen Michael Andersen Ulla Andersen Anni Greve Andersen Fredrik Ax Jakob Bondesen Charlotte Delran Chris Edgar Peter Fischer Cæcilie Heising Thomas Howalt Tantiana Højengaard Niels Jørgensen Søren Reinhold Jensen Christoffer Kay Additional Artists Michael Bing Alan Cameron Boyle Morten Bramsen Miklos Büte Johan Flod Henrik Hansen Mads Prahm Morten "Mazy" Hedegren Michael Heilemann Balàzs von Kiss Peter von Linstow Roberto Marchesi Peter Eide Paulsen Rasmus Poulsen 22 23 Jørgen Larsen Tamir Lomholt Karsten Lund Ulf Maagaard Foad Mojib Jonas Nielsen Rune Petersen Mads Prahm Genevieve Ripeau Niels Ole Sørensen Martin Schröder Christine CT Thårup Kjartan Vidarsson I O - I N (ToEtR uAdC T I V E c n in e ) EIDOS U.S. Support (continued) Voice Casting & Direction (US) KBA Voice Production Featuring the Voice Talents of David Andriole David Bateson Barbara Bernád Brian Beacock Joan M. Bentsen Michael Benyer Nicole Black Scott Bullock Billy Cross Christopher Curry Vinny Curto Mark Deakins Christine Dunford Wayne Duvall Alfred Fair Crispin Freeman Jorge Garcia Grant George Jessica Gee Bob Glouberman Francois Eric Grodin Nemi Fadlahllah Jean Claude Flamant Thor Frølich Heather Halley Danielle Hartnett Stew Herrera Tish Hicks Stephani Hodge Tray Hooper Roger L. Jackson Peter Jessop Bill Jurney Barry Gordon Mc. Kenna Mark Klastorin Celestino Lancia Noah Lazarus Micheal Lindsay Deborah Marlowe Jennifer Martin Don Mathews Vivienne McKee Jim Meskinen Ennis Morris Bob Neches Byrne Offutt Jeremy C. Petreman Carlos Reig Plaza Billy Pope Earth Miller Bernard Reeves Sam Riegel Daniel Riordan Paul Rugg Sam Sako Pete Scherer Karen Strassman Mathew Stravitz Miles Stroth Jim Thornton Trey Turner Sal Viscuso Wade Williams Laura J.K. Wrang CEO & President, Eidos North America Bill Gardner Channel Marketing Project Manager Diane Eng CS Supervisor Sean McCloskey CS Agents Adam Braswell Richard Campbell Executive Vice President of Marketing & Sales Robert Lindsey Channel Marketing Coordinator Rafal Dudziec Senior QA Technician Stephen Cavoretto Vice President, Legal & Business Affairs James O'Riordan Director of Marketing Communications Stephanie Lipetzky Assistant Lead QA Technician Richard Hartzell Vice President, Finance Malcolm Dunne Creative Services Project Manager Eileen Buenviaje Quality Assurance Katie Bieringer Richard Campbell Nicholas Cooprider Ergin Dervisoglu Kip Ernst Stephanie Greer John Hayes Mackenzie Hume Nick Jacobson Aaron Keillor Erik Kennedy Chester Lee Jeff Lowe Joshua Pfeiffer Vice President, Human Resources Edie Dykstra Media Specialist Micheal Tran Voice Recording Studio (US) Studiopolis Marketing Manager Jefferson Dong Graphic Designer James Song Mocap Actors Christopher (Jack) Corcoran, Tina Robinson, Bo Thomas, Jamie Treacher Public Relations Director Michelle Seebach Curran Web Producer Roderick Van Gelder Public Relations Manager Tali Fischer Web Designer John Lermer Cellist Helle Sørensen Online Public Relations Specialist Matt Dahlgren Operations Manager Gregory Wu Additional Artwork Supplied by Mine Loader Software Co., Ltd. Senior External Producer Nick Goldsworthy Special Thanks Jordan Romaidis, Patrick Goodspeed, Annie Meltzer, Sean Mylett, Petrol Advertising, Shane Francis Co., Danny Jiang, Susan Kwon, Jason Bergquist, Hanshaw Ink & Image National Sales Manager Joe Morici Associate Project Manager Clayton Palma Channel Marketing Manager Janty Sumimoto QA/CS Manager Mark Cartwright Senior Channel Marketing Specialist Ilana Budanitsky EIDOS U.K. CEO Jane Cavanagh Creative Development Director Patrick O'Luanaigh QA Lead Technicians David Haddon Germaine Mendes Shams Wahid Commercial Director Bill Ennis Head of Global Brand Larry Sparks MUSIC CREDITS Music sourced by "Double Trouble" Performed by John Mayall's Bluesbreakers Courtesy of The Decca Record Company Ltd Licensed by kind permission from the Film & TV licensing division. Part of the Universal Music Group. "Double Trouble" composed by Otis Rush. Published by Conrad Music, A Division of Arc Music Corp. "White Noise" performed by The Vacation. Written by Ben Tegal & Steve Tegal. Produced by Tony Hoffer. Published by Chrysalis Music Limited. Appears by kind permission of Chrysalis Music and The Echo Label (P) & (C) The Echo Label Limited 2004 Taken from the album Band From World War Zero Published by Zenith Publishing Ltd. © 2003 Zenith Publishing Ltd. Written by P Watts/S Gillett/ J Reeve. Performed by "Airbiscuit" from the album Caldo-Freddo. Recording Copyright 2003 Zenith Café Ltd www.airbiscuit.net -- www.zenithcafe.co.uk info@zenithcafe.co.uk "Tomorrow Never Dies" (Karaoke version) Music: Rosendahl/Christensen. Lyrics: Rosendahl/ Rosendahl. Performed by Swan Lee. Karaoke version sung by Barbara Bernád. "Tomorrow Never Dies" (Original version) Music: Rosendahl/Christensen. Lyrics: Rosendahl/ Rosendahl. Performed by Swan Lee. Original version sung by Pernille Rosendahl Franz Schubert (1797): "AveMaria." The work is in the Public Domain. Artists: Daniel Perrett, Soprano. Praxedis Rütti, Soprano. From the album Tudor4 7029 Ave maria. Zürcher Sängerknaben. Conductor: Alphons von Aarburg. © 1995 Tudor Recording AG, Zürich/Switzerland "Slasher" Music and lyrics: Bo Heidelberg & Kim G. Hansen Performed by Institute for the Criminally Insane Financial Director Rob Murphy Brand Manager Kathryn Clements QA Technicians Richard Acherki Steve Addis Linus Dominique Allen Elliott Steve Inman Carl Perrin William Wan Company Secretary Anthony Price Head of Support Services Flavia Timiani Head of European Publishing Scott Dodkins Senior Localisation Manager Monica Dalla Valle Product Acquisition Director Ian Livingstone Localisation Manager Alex Bush Special Thanks A big thanks to all our European Marketing, Sales and Web teams as well as our Finance department who have done a wonderful job to make this game happen. Your tremendous work is much appreciated. A big thanks also to Tom Waine for writing this manual. Worldwide CTO Julien Merceron Creative Manager Quinton Luck Development Drirector Darren Barnett Senior Designer Jodie Brock Executive Producer Neil Donnell QA Manager Marc Titheridge Assistant Producer Adam Lay QA Supervisor ­ Functionality John Ree Register online at www.eidosregistration.com EIDOS, INC., LICENSE & LIMITED WARRANTY Eidos, Inc., warrants to you, the original purchaser of this disc, that for a period of ninety (90) days from the date of your purchase, this disc shall be free from defects in materials and workmanship. If, at any time during the applicable ninety (90) day warranty period you determine that this limited warranty has been breached, Eidos, Inc., agrees, in its sole option, to repair or replace, free of charge, any such disc, provided the disc is returned postage-paid to the Eidos, Inc., Factory Service Center and a proof of date of purchase is included. This limited warranty is not applicable to normal wear and tear and shall be void with respect to any defects that arise from disc abuse, unreasonable use, mistreatment or neglect. This disc is sold "as is" without any warranties of any kind, express or implied, including implied warranties of merchantability or fitness for a particular purpose, other than the limited warranty expressly stated above. No other claims arising out of your purchase and use of this disc shall be binding on or obligate Eidos, Inc., in any manner. Eidos, Inc., will not be liable to you for any losses or damages incurred for any reason as a result of your use of this disc, including, but not limited to, any special, incidental, or consequential damages resulting from your possession, use or malfunction of this disc. This limited warranty states the entire obligation of Eidos, Inc., with respect to the purchase of your disc. If any part of this limited warranty is determined to be void or illegal, the remainder shall remain in full force and effect. For warranty support please contact our Customer Support department at (415) 615-6220. Our staff is available Monday through Friday, 9:00 a.m. to 12:00 noon and 1:00 p.m. to 5:00 p.m. Pacific Time. You are responsible for all toll charges. Customer Support Representatives will not provide game hints, strategies or codes. DOWNLOAD NOW www.eidosmobile.com PRODUCT RETURN PROCEDURE In the event our support agents determine that your game disc is defective, you will need to forward material directly to us. Please include a brief letter explaining what is enclosed and why you are sending it to us. The agent you speak with will give you an authorization number that must be included and you will need to include a daytime phone number so that we can contact you if necessary. Any materials not containing this authorization number will be returned to you unprocessed and unopened. Send your postage-paid package to the following address: Eidos, Inc. Customer Services RMA# (state your authorization number here) 651 Brannan Street, Suite 400 San Francisco, CA 94107 You are responsible for postage of your game to our service center. © 2006 IO Interactive A/S. Developed by IO Interactive. Published by Eidos, Inc. Hitman, Hitman Blood Money, Eidos and the Eidos logo are trademarks of SCi Entertainment Group. IO and the IO logo are trademarks of IO Interactive A/S. The ratings icon is a registered trademark of the Entertainment Software Association. All rights reserved. Microsoft, Xbox, Xbox 360, and the Xbox logos are either registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries and are used under license from Microsoft. Visit www.esrb.org for updated rating information. Hitman: Blood Money Vegas and Hitman: Blood Money L.A. © 2006 IO Interactive A/S. Developed by Morpheme Wireless Ltd. Published by Eidos Inc. Hitman, Hitman: Blood Money, Eidos, Eidos Mobile, the Eidos logo, and the Eidos Mobile logo are trademarks of the SCi Entertainment Group. © 2006 InfoSpace, Inc. All rights reserved. Other trademarks represented are owned by their respective companies. The rating icon is a registered trademark of the Entertainment Software Association. All rights reserved.