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Games Microsoft XBOX HITMAN-BLOOD MONEY User Manual

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SAFETY INFORMATION

ABOUT 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 sitting farther from the television screen, using a smaller television screen, playing in a well-litroom, and not playing 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.

Other Important Health and Safety Information. The Xbox® Instruction Manual contains important health and safety information that you should read and understand before using this software.

AVOID DAMAGE TO YOUR TELEVISION

Do not use with certain televisions. Some televisions, especially frontor rearprojection types, can be damaged if any video games, including Xbox® games, are played on them. Static images presented during the normal course of game play may “burn in” to the screen, causing a permanent shadow of the static image to appear at all times, even when video games are not being played. Similar damage may occur from static images created when placing a video game on hold or pause. Consult your television owner’s manual to determine if video games can be played safely on your set. If you are unable to find this information in the owner’s manual, contact your television

dealer or the manufacturer to determine if video games can be played on your set. Unauthorized copying, reverse engineering, transmission, public performance, rental, pay for play, or circumvention of copy protection is strictly prohibited.

CONTENTS

CONTROLS OF THE PROFESSIONAL . . . . . . 2

XBOX Live® . . . . . . . . . . . . . . . . . . . . . . . 3

Take HITMAN BLOOD MONEY

Beyond the Box . . . . . . . . . . . . . . . . . . 3

Connecting . . . . . . . . . . . . . . . . . . . . . . 3

GETTING INTO THE GAME . . . . . . . . . . . . .	3
Profile Management . . . . . . . . . . . . . . .	3
Xbox Live® . . . . . . . . . . . . . . . . . . . . .	4
Difficulty . . . . . . . . . . . . . . . . . . . . . . .	4
A Manual for the Professional . . . . . . . .	4
Notoriety . . . . . . . . . . . . . . . . . . . . . . .	5
UP CLOSE & PERSONAL . . . . . . . . . . . . . .	6

AGILITY . . . . . . . . . . . . . . . . . . . . . . . . . 10

Climbing & Scaling . . . . . . . . . . . . . . . . 10

SUBTERFUGE TECHNIQUES . . . . . . . . . . . .	11
Disguises & Concealment . . . . . . . . . . .	11
INGRESSION . . . . . . . . . . . . . . . . . . . . . .	1 2
Doors, Locks & Security . . . . . . . . . . .	1 2
Distraction . . . . . . . . . . . . . . . . . . . . .	1 4

TOOLS OF THE TRADE . . . . . . . . . . . . . . . 1 5

Firearms, Situational & Equipment . . . . 1 5

COMPENSATION . . . . . . . . . . . . . . . . . . .	1 8
Weapons & Tools . . . . . . . . . . . . . . . .	1 9
Cleaning . . . . . . . . . . . . . . . . . . . . . . .	1 9
Recovering Surveillance Tapes . . . . . . .	20
POST MISSION . . . . . . . . . . . . . . . . . . . .	20
GAME CREDITS . . . . . . . . . . . . . . . . . . . .	2 1
MUSIC CREDITS . . . . . . . . . . . . . . . . . . .	23

CONTROLS of the PROFESSIONAL

	BUTTON	ACTION
	BUTTON	ACTION

	L	Move character; Zoom map;
		Move character; Zoom map;
		Highlight menu options

	L (click, hold/release)	Throw item
	R	Aim
	R (click)	Open/Close sniper scope;
		View Mode switch
? */@		Zoom sniper scope/binoculars;
		Scroll through actions/items;
		Highlight menu options

	? $/^	Scroll through maps/inventory
	Y	Drop item; Exit map; Exit legend; Cancel
	X (tap)	Holster/Unholster weapon
	(hold/release)	Open/Close inventory
	B (tap)	Pick up item
	(hold/release)	Pick up list
	A (tap)	Carry out action; Confirm
	(hold)	View action list
	l (pull & hold)	Crouch; Sneak
	c	Map
	r	Fire; Use weapon; Close combat
	b	Reload weapon
<		Objectives
>		Start/Pause game

Xbox Live®

take hitman blood money™ beyond the box

Xbox Live® is ahigh-speedor broadband Internet gaming community where you can create a permanent gamer identity, set up a Friends List with other players, see when they’re online, invite them to play, and talk to them in real time (with an Xbox Communicator Headset) as you play.

connecting

Before you can use Xbox Live, you need to connect your Xbox console

to a high-speedor broadband Internet connection and sign up for the Xbox Live service. To determine if Xbox Live is available in your region and for information about connecting to Xbox Live, see WWW.XBOX.COM/CONNECT

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

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.
•	NORMAL	Suitable for those comfortable with contract killing.
		Each mission allows seven saves.
•	EXPERT	For the practiced and experienced. Only three saves
		per mission are permitted.
•	PROFESSIONAL	For the true professional only. No saves are permitted
		once a mission is in progress.

XBOX LIVE®

Although the professional will choose not to reveal employment history, many assassins will wish to evaluate and compare their skills against other professionals around the world.

In order to submit mission data, the professional must have an online connection and have created and signed on to his Xbox Live® account before starting the mission. Then, after each successful mission, the professional will be given the option to upload mission statistics and rank himself against all those who have attempted the same.

Note: You can also create a new Xbox Live® account, manage your Friends List, and activate the Voice Through TV feature via the Xbox Live® menu.

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:

HITMAN TECHNIQUES

		BASIC		ADVANCED
1	2	3	4	5

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-surveillancetapes.

•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.

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-restrictedareas.

HEAD USE

Use L to position yourself in front of the victim, then pullr to head butt your target.

THE PUNCH

While the victim is dazed, use L to position yourself in front of your target, then press pullr to punch.

DISARMING

Use L to position yourself in front

of the armed victim, then pull r to disarm the person.

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 L to walk toward the mark, holdX to access the inventory and then select a firearm. Pullr to discharge the firearm, then tapX to holster and conceal it.

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 r to tighten the fiber wire and automatically enter sneak mode. UseL to maneuver behind the mark, then releaser to strangle the victim.

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!

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.

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 l to enter sneak mode, and sneak toward the mark. When you’re behind the victim, pullr

to silently slit the mark’s throat.

To throw a knife, use the R to aim at the victim, click and holdL, then releaseL to kill your mark.

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 l and useL

to sneak up behind the victim. Once behind the mark, pull r to inject poison into the victim’s neck.

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 R to aim the crosshair at the food or beverage, and pullr to poison the item.

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.

Press b to reload the firearm while holding a human shield.

When out of danger, press A again to knock the human shield unconscious, or pressY to push the human shield

to the floor once his usefulness is over.

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 r to push the mark over a ledge or railing.

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.

CLIMBING & SCALING

JUMPING WALLS

Using L, first approach the wall, then push forward toward it to automatically jump it.

JUMPING BALCONIES

Using L, approach the balcony, then push forward toward the edge to automatically jump across it.

CLIMBING THROUGH WINDOWS

Using L, approach the open window, then push forward toward it to automatically

climb through.

WALKING A LEDGE

Approach the ledge, then push toward it to automatically climb onto it.

CLIMBING DRAIN PIPES

Approach the drainpipe, then push toward it to automatically climb onto it. Push L */@ to ascend/

descend. Pull l to drop off the drain pipe.

CLIMBING LADDERS

Approach the ladder, then push toward it to automatically climb onto it. Push L */@

to ascend/descend. Pull l to drop off the ladder.

SUBTERFUGE TECHNIQUES

DISGUISES & CONCEALMENT

The professional will often apply subterfuge techniques to evade detection and introduce the element of surprise to an unsuspecting mark.

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 B to change into the disguise.

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 A to begin dragging it. PressY to drop the body.

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. PressA to open the lid of a container, then pressA again to dump the body inside.

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.

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.

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 L, approach the door. Pull and holdl to crouch in front of it, then pressA to look through the keyhole. PressA again to exit keyhole view.

COMMUNICATION

The professional often applies subtle communication techniques on staff members to gain layout and location information.

Walk up to the person and press A to initiate conversation.

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-heldorwalk-through

detection devices. The professional can also purchase more enhanced lock picks for slicker, speedier access.

Approach a locked door and press 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 A to equip the key card and open the door.

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 R to aim the crosshair at the lock. Pullr to fire and break open the lock.

HIDING IN THE CLOSET

Stand in front of the closet and press A to enter it. Press

A when inside the closet to exit.

DISTRACTION

Using a range of distraction techniques, the professional gains extra time on a contract and access to high security areas.

COINS & THROWN ITEMS

The professional will 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 L to prepare to throw. UseR to aim the crosshair, then releaseL to throw the item.

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 R to aim the crosshair at the light source and pullr to fire a shot and destroy it.

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

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.

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.

SUB-MACHINEGUNS

The sub-machinegun offers

the professional a high rate of fire and lightweight maneuverability when in close proximity to the mark. The sub-machinegun is the least subtle choice when on

a job and doesn’t offer the accuracy or anonymity of a silenced weapon.

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.

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.

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.

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.

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-poweredweapon such as a sniper rifle.

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.

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.

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.

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-limitareas,key-cardeddoors, frisk and search

points, possible smuggle opportunities).

The professional often tries to purchase structural information for the location in question.

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.

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-qualitytools and weapons on the market:

•	ADVANCED LOCK PICKS	Allows the
		professional to
		pick locks faster;
		allows access to key-cardeddoors without
		the relevant key card; requires additional time.
•	ADVANCED BINOCULARS	Incremental zoom, with better overall vision
		capabilities and digital distance counter.
•	ADRENALINE	Restores partial health.
•	KEVLAR VEST	Allows the
•	KEVLAR VEST	Allows the
		professional to
		absorb some
		projectile hits.
•	PAINKILLERS	Provide a small
		health boost.

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-ofbodies and use bribes to reduce notoriety.

Note: Replaying a mission and finishing with a lower notoriety value than originally awarded in turn lowers your current notoriety level.

RECOVERING SURVEILLANCE TAPES

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.

GAME CREDITS

IO-INTERACTIVE

Game Director

Rasmus Højengaard

Technical Producer

Martin Amor

Art Director

Tore Blystad

Gameplay Director

Peter Fleckenstein

Producer

Helle Marijnissen

Programmers

Jens Bo Albretsen Brian Meidell Andersen Marcell Baranyai Carsten Brügmann Zoltán Buzáth

Bo Cordes Neil Coxhead

Theo Engell-NielsenChris 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

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

Animators

Barbara Bernád

Frederik Budolph-Larsen

Jens Peter Kurup

Søren Lumholtz

Frederic Poirier

Martin Poulsen

Thomas P Theede

Gameplay Scripters

Jesper Donnis

Jonas Lind

Thomas Løfgren

Jacob Mikkelsen

Sound Designers

Ivan Brandt

Thomas “Tomzen” Dietl

Simon Holm

Michael Ziegler

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

Script Writer

Greg Nagan

Additional Programmers

Peter Andreasen

Jesper Christiansen

Henrik Edwards

Martin Gram

Martin Lütken

Michael Juel Nielsen

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

Additional Animators

Anders Haldin

Gabor Horvath

Craig Kristensen

Martin Madsen

Doron Meir

Simon Sonnichsen

Kim Zoll

Additional Sound Designer

Peter Wendelboe Hansen

Additional Engine

Programmers

Thomas Jakobsen

Ulf Johansen

Steffen Toksvig

Additional Script Writer

Morten Iversen

Music

Composed and Produced by Jesper Kyd (Score) Performed by the Budapest

Symphony Orchestra (Score)

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

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

IO-INTERACTIVE (continued)

EIDOS U.K.

Support (continued)

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

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

CEO

Jane Cavanagh

Commercial Director

Bill Ennis

Financial Director

Rob Murphy

Company Secretary

Anthony Price

Head of European Publishing

Scott Dodkins

Product Acquisition Director

Ian Livingstone

Worldwide CTO

Julien Merceron

Development Drirector

Darren Barnett

Executive Producer

Neil Donnell

Assistant Producer

Adam Lay

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

Creative Development Director

Patrick O’Luanaigh

Head of Global Brand

Larry Sparks

Brand Manager

Kathryn Clements

Head of Support Services

Flavia Timiani

Senior Localisation Manager

Monica Dalla Valle

Localisation Manager

Alex Bush

Creative Manager

Quinton Luck

Senior Designer

Jodie Brock

QA Manager

Marc Titheridge

QA Supervisor – Functionality

John Ree

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

Voice Recording Studio (US)

Studiopolis

Mocap Actors

Christopher (Jack) Corcoran,

Tina Robinson,

Bo Thomas, Jamie Treacher

Cellist

Helle Sørensen

Additional Artwork

Supplied by Mine Loader

Software Co., Ltd.

QA Lead Technicians

David Haddon

Germaine Mendes

Shams Wahid

QA Technicians

Richard Acherki

Steve Addis

Linus Dominique

Allen Elliott

Steve Inman

Carl Perrin

William Wan

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.

EIDOS U.S.

	CEO & President,	Channel Marketing
	Eidos North America	Project Manager
	Bill Gardner	Diane Eng
	Executive Vice President	Channel Marketing
	of Marketing & Sales	Coordinator
	Robert Lindsey	Rafal Dudziec
	Vice President,	Director of Marketing
	Legal & Business Affairs	Communications
	James O’Riordan	Stephanie Lipetzky
	Vice President, Finance	Creative Services
	Malcolm Dunne	Project Manager
	Vice President, Human	Eileen Buenviaje
	Vice President, Human	Media Specialist
	Resources	Media Specialist
	Edie Dykstra	Micheal Tran
	Marketing Manager	Graphic Designer
	Jefferson Dong	James Song
	Public Relations Director	Web Producer
	Michelle Seebach Curran	Roderick Van Gelder
	Public Relations Manager	Web Designer
	Tali Fischer	John Lermer
	Online Public Relations	Operations Manager
	Specialist	Gregory Wu
	Matt Dahlgren	Senior External Producer
		Senior External Producer
	National Sales Manager	Nick Goldsworthy
	Joe Morici	Associate Project Manager
		Associate Project Manager
	Channel Marketing Manager	Clayton Palma
	Janty Sumimoto	QA/CS Manager
		QA/CS Manager
	Senior Channel	Mark Cartwright
	Marketing Specialist
	Ilana Budanitsky

CS Supervisor

Sean McCloskey

CS Agents

Adam Braswell

Richard Campbell

Senior QA Technician

Stephen Cavoretto

Assistant Lead QA Technician

Richard Hartzell

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

Special Thanks

Jordan Romaidis,

Patrick Goodspeed,

Annie Meltzer, Sean Mylett,

Petrol Advertising,

Shane Francis Co.,

Danny Jiang, Susan Kwon,

Jason Bergquist,

Hanshaw Ink & Image

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

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

“Slasher” Music and lyrics: Bo Heidelberg & Kim G. Hansen Performed by Institute for the Criminally Insane

DOWNLOAD NOW

www.eidosmobile.com

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.

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-paidto 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.

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-paidpackage 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 Live, the Live logo, 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.