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SAFETY INFORMATION CONTENTS ABOUT PHOTOSENSITIVE SEIZURES A very small percentage of people may experience a seizure when exposed to certain CONTROLS OF THE PROFESSIONAL ...... 2 visual images, including flashing lights or patterns that may appear in video games. Live® Even people who have no history of seizures or epilepsy may have an undiagnosed ...... 3 condition that can cause these “photosensitive epileptic seizures” while watching Take BLOOD MONEY video games. Beyond the Box ...... 3 These seizures may have a variety of symptoms including: lightheadedness, altered Connecting ...... 3 vision, eye or face twitching, jerking or shaking of arms or legs, disorientation, GETTING INTO THE GAME ...... 3 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 Profile Management ...... 3 nearby objects. Xbox Live ® ...... 4 Immediately stop playing and consult a doctor if you experience any of these Difficulty ...... 4 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. A Manual for the Professional ...... 4 The risk of photosensitive epileptic seizures may be reduced by sitting farther from Notoriety ...... 5 the television screen, using a smaller television screen, playing in a well-lit room, UP CLOSE & PERSONAL ...... 6 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 AGILITY ...... 10 before playing. Climbing & Scaling ...... 10 Other Important Health and Safety Information. The Xbox® Instruction Manual SUBTERFUGE TECHNIQUES ...... 11 contains important health and safety information that you should read and understand before using this software. Disguises & Concealment ...... 11 INGRESSION ...... 12 AVOID DAMAGE TO YOUR TELEVISION Doors, Locks & Security ...... 12 Do not use with certain televisions. Some televisions, especially front- or rear- Distraction ...... 14 projection 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 TOOLS OF THE TRADE ...... 15 “burn in” to the screen, causing a permanent shadow of the static image to appear at Firearms, Situational & Equipment . . . . 15 all times, even when video games are not being played. Similar damage may occur COMPENSATION ...... 18 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 Weapons & Tools ...... 19 your set. If you are unable to find this information in the owner’s manual, contact Cleaning ...... 19 your television Recovering Surveillance Tapes ...... 20 dealer or the manufacturer to determine if video games can be played on your set. POST MISSION ...... 20 Unauthorized copying, reverse engineering, transmission, public performance, rental, pay for play, or circumvention of copy protection is strictly prohibited. GAME CREDITS ...... 21 MUSIC CREDITS ...... 23 hbm xbx final.qxd 5/5/06 3:43 PM Page 2

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CONTROLS of the PROFESSIONAL Xbox Live®

take hitman blood money™ beyond the box Xbox Live ® is a high-speed or 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-speed or broadband Internet connection and sign up for the Xbox Live service. To determine if Xbox Live is available in your region and for BUTTON ACTION information about connecting to Xbox Live, see WWW.XBOX.COM/CONNECT L Move character; Zoom map; Highlight menu options GETTING INTO the GAME (click, hold/release) L Throw item R Aim PROFILE MANAGEMENT R (click) Open/Close sniper scope; Before embarking on a career as a Hitman, you must first prepare a profile. ? */@ View Mode switch The profile keeps a record of your progress and preferences, along with weaponry choices, funds and other equipment and items you acquire. Zoom sniper scope/binoculars; Scroll through actions/items; From the PROFILE MANAGER screen, choose CREATE PROFILE and enter ? $/^ Highlight menu options a name for the profile. If you have a previously created profile, you can Y Scroll through maps/inventory select this to resume the career. You can also delete profiles you no X (tap) longer want. (hold/release) Drop item; Exit map; Exit legend; Cancel DIFFICULTY (tap) B Holster/Unholster weapon (hold/release) Once you’ve created a profile, you will then choose a difficulty level: Open/Close inventory A (tap) • ROOKIE For the inexperienced, and those new to the world (hold) Pick up item of the assassin. There are no limitations on how many Pick up list l (pull & hold) saves you can make while attempting a mission. c Carry out action; Confirm View action list • NORMAL Suitable for those comfortable with contract killing. r Each mission allows seven saves. b Crouch; Sneak < • EXPERT For the practiced and experienced. Only three saves Map per mission are permitted. > Fire; Use weapon; Close combat • PROFESSIONAL For the true professional only. No saves are permitted Reload weapon once a mission is in progress. Objectives Start/Pause game hbm xbx final.qxd 5/5/06 3:43 PM Page 4

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XBOX LIVE® NOTORIETY

Although the professional will choose not to reveal employment history, ANONYMITY, THE DISGUISE OF THE PROFESSIONAL many assassins will wish to evaluate and compare their skills against other Longevity in the profession is dependent on transparency in the world. The professionals around the world. professional seeks solace in a world where the only way to carry out this sort of work is with anonymity. In order to submit mission data, the professional must have an online ® account connection andbefore have starting created the and mission. signed Then,on to afterhis Xbox each Livesuccessful mission, the • The professional avoids the blood bath wherever possible, as this professional will be given the option to upload mission statistics and rank attracts the unwanted eyes of the law or multiple witnesses and an audit himself against all those who have attempted the same. trail to his door. Note: You can also create a new Xbox® account, Live manage your Friends List, and activate the Voice Through TV feature via the Xbox Live® menu. • 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 . A MANUAL for the PROFESSIONAL witnesses or clues are left on the scene. This manual provides insight into the mind and practices of the professional • When the professional takes civilian lives, the invariable result is taped Hitman. This manual refers to the Hitman as “the professional.” It explores TV footage and witnesses at the scene of the crime. When this happens, the complexities, skills and the intricacies with which “the professional” the professional gains notoriety. As notoriety increases, the ease with conducts his craft. which the professional can carry out his next contract decreases.

The professional techniques outlined in this manual vary in complexity, • For further insurance against discovery in areas covered by TV cameras, and are graded by difficulty using the following ranking system: the professional can make sure to destroy all video-surveillance tapes. HITMAN TECHNIQUES • The professional can assess his successfulness and his notoriety BASIC ADVANCED 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 1 2 3 4 5 and missions, and may even give a clue to the professional’s identity. hbm xbx final.qxd 5/5/06 3:44 PM Page 6

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FIBER WIRE UP CLOSE & PERSONAL The fiber wire is the most difficult CLOSE COMBAT of your weapons to The professional uses close hand combat skills to eliminate the mark use but the easiest with minimum noise and when dealing with unforeseen circumstances. to conceal. It is also The majority of these skills are ideal in firearm-restricted areas. the quietest and most efficient tool to use to avoid raising an alarm. HEAD USE r to tighten to maneuver Use L to position Select the fiberthe fiberwire wirefrom andinventory, automatically then pull enter and sneakhold mode. Use L r to strangle the victim. yourself in front of behind the mark, then release the victim, then pull Note: If you are spotted or you fail to execute this move in one fluid movement, your r to head butt intended victim may become alerted, and attempt to raise an alarm or attack! your target. ELEVATOR THE PUNCH The professional While the victim is often looks for L to dazed, use secluded areas away position yourself in from TV cameras front of your target, r and civilian witnesses then press pull to punch. to eliminate a guard or mark. Elevators provide an excellent space in which to do this. A. Equip DISARMING While in an elevator,the fiber accesswire from the inventory,roof hatch and by pressingthen look pull toward the open hatch. While Use L to position a victim is visible below, Apressto strangle and pull the mark up yourself in front and out of the elevator. of the armed victim, r to then pull KNIVES disarm the person. Knives are another Note: During the struggle, it’s possible that the firearm will go off accidentally. silent, easy to conceal, efficient CONCEALING WEAPONS means for the Whenever possible, professional to the professional eliminate the mark. carries out his work l to enter sneak mode, Select the andknife sneak from toward inventory. the Pullmark. and When hold you’re behind the victim, pull r using tools that can to silently slit the mark’s throat. be concealed on his person. He has a number of tools at his disposal that, when concealed, can go undetected To throw a knife, use in most publicto walk areas. toward the mark, hold to access the inventory and then R to aim at the L X the select a firearm. Pullr to discharge the firearm, then tap X to holster victim, click and hold Use L, then release L and conceal it. to kill your mark. hbm xbx final.qxd 5/5/06 3:45 PM Page 8

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SYRINGES The professional uses two types of syringes. The Press b to reload sedative syringe (non the firearm while lethal) is an effective holding a human means of sedating shield. 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 When Aout againof danger, to drink, allowing you to terminate the mark from a safe distance.l and use L knockpress the human to sneak up behind the victim. Once behind the mark, pull r to inject shield unconscious, Select a syringe type from inventory, and then pull Y to push poison into the victim’s neck. or press the human shield POISON to the floor once his usefulness is over. The professional often studies JUMPER behavioral patterns, The professional and then uses poison can use the veil of to eliminate the mark suicide when offered with clinical precision from a safe distance. a huge height and a target. Walk up R to aim the crosshair at the food or beverage, Stand in front of the food or beverage, open the inventory and select behind the mark. r to push the mark over a ledge and pullr to poison the item. the required syringe. Use When you’reor railing. close enough, pull 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. A to grab the mark and use him as a human shield. Equip a concealable firearm from inventory, then approach the victim from behind and press hbm xbx final.qxd 5/5/06 3:45 PM Page 10

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CLIMBING DRAIN PIPES AGILITY Approach the drainpipe, then push TRAVERSING THE ENVIRONMENT toward it to The professional looks for the most anonymous path through automatically climb the environment and will exhaust all possible avenues of access L onto*/@ it.to Push ascend/ to the mark in preparation for a contract. descend. Pull l to drop off the drain pipe. CLIMBING & SCALING CLIMBING LADDERS Approach the ladder, then push toward it to JUMPING WALLS automatically climb onto it. Push L */@ Using L, first to ascend/descend. Pull l to drop off the ladder. approach the wall, then push forward toward it to automatically jump it. JUMPING BALCONIES SUBTERFUGE TECHNIQUES Using L, approach The professional will often apply subterfuge techniques to evade detection the balcony, then and introduce the elementDISGUISES of surprise &to CONCEALMENTan unsuspecting mark. push forward toward the edge to automatically jump across it. DISGUISES CLIMBING THROUGH WINDOWS The professional seeks Using L, approach anonymity on a contract, the open window, acquiring disguises from then push forward rooms and changing areas, toward it to and opportunistically from automatically the people wearing them. climb through. Disguises allow the professional to infiltrate and move undetected through WALKING A LEDGE areas of high security. Similarly, when dressed as a worker, the professional Approach the ledge, carries the tools of that profession and can use them as weapons without then push toward it raising suspicion. For example, as a workman the professional will carry to automatically B to change hammers and nail guns; as a gardener he will carry shears; and so on. climb onto it. into the disguise. Stand near a dead or unconscious body, then press hbm xbx final.qxd 5/5/06 3:46 PM Page 12

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CONCEALING BODIES SURVEILLANCE The professional The professional will carries out his work often scope out a exercising discretion. room before entering When unplanned it, negating any terminations are unnecessary surprises made during a and ensuring that contract, the professional quickly seeks out a hiding place to conceal nothing Lis left, approach to chance. the door. Pull and hold l to crouch in front of it, the body or bodies. A to begin dragging it. to look through the keyhole. Press again to exit Using thenA press A YPressto drop the body. Stand near a dead or unconscious body and press keyhole view.

DISPOSING OF BODIES COMMUNICATION On more complicated The professional often applies subtle contracts, unplanned communication techniques on staff casualties may occur. members to gain layout and location These terminations information. can jeopardize cover, A Walk up to the person and press alert security and to initiate conversation. arouse suspicion in the mark. The professional avoids this at all costs, quickly adapting to the environment, disposing of bodies in freezers, LOCK PICKS The lock pick is a default wardrobes, showers and badly lit areas. A to drag it. APressto open the lid of a container, then press A again to dump tool used by the Stand near thea dead body or inside. unconscious body and press professional on every job; it is easily concealed and is not detectable by hand-held or walk-through INGRESSION detection devices. The professional can also purchase more enhanced lock picks for slicker, speedier access. A to begin picking the lock. DOORS, LOCKS & SECURITY Approach a locked door and press KEY CARDS & READ/WRITE DEVICES The professional is an expert locksmith with a number of specialist tools In areas of high and distraction techniques at his disposal to gain access to the most highly security, the secured areas. professional requires

SURVEILLANCE & COMMUNICATION TECHNIQUES access key cards to Knowledge is integral to the professional’s survival. Every detail is gain access to the meticulously researched so that all possible scenarios, exits and escape mark. You can steal routes are thoroughly explored. key cards from rooms or security when on aA contract.to equip the key card Approachand the open locked the door door. and press hbm xbx final.qxd 5/5/06 3:47 PM Page 14

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BREAKING LOCKS MANIPULATING LIGHT Things occasionally The professional can go wrong on a job use a firearm to and the professional shoot out lights and needs to gain quick shut down power entry to an area junction boxes without time to use to plunge an area into darkness, forcing security to investigate. The a lock pick. When faced with no other option, you can gain access professional will manipulate light wherever possible to remain anonymous.A to plunge by shooting the door lock. (This only works on conventional door locks Stand in frontthe of room the switchor area or into junction darkness. box Youand canpress also destroy lights. Equip and not on key card areas.) This is the riskiest solution as the noise a firearm from inventory,R useto aim the crosshair at the light source of shooting the lock may alert security or result in discovery and rpull to fire a shot and destroy it. to aim of a damaged door. R the crosshair at the lock.r Pullto fire and break open the lock. Select a firearm from inventory, walk up to the door, and use TOOLS of the TRADE HIDING IN THE CLOSET Stand in front of the Tools are the only things in the professional’s life that can be truly relied closet and press A to enter it. Press upon. The professional studies and masters each of his tools so that he A when inside can use the correct application on every contract — guaranteeing anonymity the closet to exit. and minimum exposure in the field. FIREARMS, SITUATIONAL & EQUIPMENT

DISTRACTION PISTOLS & HANDGUNS The professional opts for the pistol and Using a range of distraction techniques, the professional gains extra time handgun for their power and size. Pistols on a contract and access to high security areas. and handguns are easily concealed, and once silenced become a highly COINS & THROWN ITEMS effective means of eliminating the mark. The professional will often The professional uses these weapons only throw an item such as in close proximity to the mark, since they a coin into a guarded offer limited clip capacity and accuracy over long distances. area to force security to ASSAULT RIFLES investigate the created distraction. The professional often uses these The professional opts for assault techniques to lessen civilian and security casualties, or to enable rifles as an option only when an undetected passage into high security areas. cornered or in clutch situations. to prepare to throw. Use to aim the crosshair, The size and noise of the assault Select a coin from inventoryL (or equip another small item toR throw) then Lreleaseto throw the item. rifle makes it very difficult to conceal. then click and hold 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. hbm xbx final.qxd 5/5/06 3:47 PM Page 16

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SUB-MACHINE GUNS RIGGING BOMBS The sub-machine gun offers An explosive device the professional a high rate of fire and placed on the fixing lightweight maneuverability when in close point of a chandelier proximity to the mark. The sub-machine not only eliminates gun is the least subtle choice when on the mark successfully, a job and doesn’t offer the accuracy but is also initially perceived as an accident, ensuring your smooth exit or anonymity of a silenced weapon. from the scene. There are other ways a professional can choreograph SHOTGUNS a hit to be perceived as “accidental.” See ENVIRONMENTALIST below The shotgun is devastating in close for an example. quarters but makes a lot of noise! THE FALL The professional will only resort to using The professional looks for opportunistic suspended items that could this type of weapon when backed into demolish a mark. These can be brought crashing down with clever use a corner or as a last resort. of explosives, or by shooting glass or fixture points using a high-powered weapon such as a sniper rifle.

SNIPER RIFLES ENVIRONMENTALIST The professional’s choice, the sniper rifle The professional has an eye for ingenious ways of dressing a hit as an is the most powerful and accurate accident. For example, when in a kitchen, the professional notices the gas means of eliminating the mark. This burner and its explosive potential. He weighs every opportunity and makes weapon can be silenced and used long the hit look like a freak accident whenever possible. distance from a safe vantage point, then BINOCULARS broken down into a concealed briefcase. The professional’s best tool for surveillance work. Binoculars provide The sniper rifle is an excellent tool for surveying and spying on the mark’s behavioral patterns the favorite weapon from safe distances. of the professional and, when mastered, MISSION BRIEFING The professional carries the mission briefing is the deadliest ally. throughout the contract so that he can refer REMOTE BOMBS The remote bomb is another useful tool which to objectives and mark information at will the professional can plant in a mark’s room and leave nothing to chance. and then detonate from a safe distance. MAPS The professional uses explosives intelligently Detailed maps and intelligence are paramount and strategically to eliminate the mark. 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. hbm xbx final.qxd 5/5/06 3:47 PM Page 18

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COMPENSATION WEAPONS & TOOLS The professional often elects to purchase PAYMENT upgrades in the form of specialized weapons. The professional takes payment in unmarked bills, which he can easily These weapons are always untraceable, so transfer to an offshore bank account, avoiding detection. The professional they have to be ordered through a trusted is paid according to risk and the social or political prominence of the mark. fence before purchase. The professional The higher the profile and complexity, the higher the price. The professional chooses the highest-quality tools and weapons often receives bonuses for executing a contract quickly, smoothly and on the market: without trace. The professional can earn additional cash by retrieving

suitcasesNote: Replayingand money from a mission safes on can the earnscene. you more money; however, you will only receive • ADVANCED LOCK PICKS Allows the the difference between the initial and new earnings. professional to pick locks faster; SPENDING allows access to key-carded doors without The professional leads a frugal existence, preferring not to draw attention the relevant key card; requires additional time. to himself with extravagant spending. The professional can choose to spend • ADVANCED BINOCULARS Incremental zoom, with better overall vision money on new tools, information and — when required — cleaning services capabilities and digital distance counter. on contracts that went badly with high civilian casualties. • ADRENALINE Restores partial health. INTELLIGENCE Before beginning a contract, the professional • KEVLAR VEST Allows the can choose to purchase information aiding professional to completion of mission objectives and absorb some concerning the mission as a whole. He can projectile hits. also purchase target location information • PAINKILLERS Provide a small (room location, behavior, next expected health boost. location) and access information (disguise CLEANING requirements, location of off-limit areas, key-carded doors, frisk and search The professional performs all his own cleaning where possible, but points, possible smuggle opportunities). occasionally is forced to hire external help if he has had to make The professional often tries to purchase structural information an emergency exit when a contract has gone badly. He can take care of PURCHASINGfor the location in AGENCYquestion. PICKUPS non-disposed-of bodies and use bribes to reduce notoriety. Note: Replaying a mission and finishing with a lower notoriety value than originally The professional can purchase additional items to aid completion awarded in turn lowers your current notoriety level. 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. hbm xbx final.qxd 5/5/06 3:47 PM Page 20

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RECOVERING SURVEILLANCE TAPES GAME CREDITS

Game Director Animators Additional Animators The professional Rasmus Højengaard Barbara Bernád Anders Haldin Frederik Budolph-Larsen Gabor Horvath meticulously plans Technical Producer Jens Peter Kurup Craig Kristensen Martin Amor Søren Lumholtz Martin Madsen the contract ahead Art Director Frederic Poirier Doron Meir Tore Blystad Martin Poulsen Simon Sonnichsen using information Thomas P Theede Kim Zoll Gameplay Director provided in the Peter Fleckenstein Gameplay Scripters Additional Sound Designer Jesper Donnis Peter Wendelboe Hansen Agency’s mission Producer Jonas Lind Helle Marijnissen Thomas Løfgren Additional Engine briefing. From the briefing, the professional knows where TV cameras Jacob Mikkelsen Programmers Programmers Thomas Jakobsen are located, but sometimes under pressure he is forced to perform an Jens Bo Albretsen Sound Designers Ulf Johansen Brian Meidell Andersen Ivan Brandt Steffen Toksvig unplanned action that may be caught on camera. The professional always Marcell Baranyai Thomas “Tomzen” Dietl (circumstances allowing) carries out his own cleaning on an untidy contract. Carsten Brügmann Simon Holm Additional Script Writer to remove the tape. Zoltán Buzáth Michael Ziegler Morten Iversen The professional locates the TV control room and removesA all evidence. Bo Cordes Neil Coxhead Engine Programmers Music Theo Engell-Nielsen Rune Brinckmeyer Composed and Produced Stand in front of the recording unit and press Chris Gilbert Micky Kelager Christensen by (Score) Martin Harring Kasper Engelstoft Performed by the Budapest Morten Heiberg Károly Faragó Symphony Orchestra (Score) Michael Holm David Guldbrandsen QA POST MISSION Morten Suldrup Larsen Karsten Hvidberg Petronela Cimpoesu Pèter Màlnai Michael Bach Jensen Hugh Grimley Peter Wraae Marino Asger Mangaard Klavs Kofod

Once the professional has successfully IO-INTERACTIVE Sandor Nyako Mircea Marghidanu Janus Rau Stein Nygård Allan Merrild Oliver Winding completed a mission, he will often need to Lars Piester Morten Mikkelsen Mads Østerby Olesen Kasper Høy Nielsen Additional QA address several expenses. These cover Rasmus Sigsgaard Martin Pollas Natasza Ashkanani Jens Skinnerup Jon Rocatis Christian Egense a number of different circumstances, Hakon Steinø Henning Semler Mikkel Havmand for example the retrieval and replacement Jeroen Wagenaar Gyula “Luppy” Szentirmay Frederikke Hoff Torsten Kjær Sørensen Uffe Holm of items left at the scene, such as suits Artists Andreas Thomsen Tatiana Højengaard Jacob Andersen Marja Konttinen and custom weaponry. Tobias Biehl Script Writer Jakob Mygind Marek Bogdan Greg Nagan Thomas Møller Svend Christensen Additional Programmers Kristian Rise It may also happen that potential witnesses Timothy Evison Peter Andreasen Jakob Rød Peter Fleckenstein have been left at the scene. These can both Jesper Christiansen Management Thor Frølich Henrik Edwards David Giraud Janos Flösser jeopardize your anonymity and make future Martin Gram Morten Borum Allan Hansen Martin Lütken contracts that much harder to complete efficiently. Bo Heidelberg Michael Juel Nielsen Support Tom Isaksen Mette Agerbæk Søren B. Jensen Additional Artists Else Andersen Additionally, the unlawful killing of innocents and law enforcement officials Sascha Jungnickel Michael Bing Michael Andersen Jesper Vorsholt Jørgensen Alan Cameron Boyle Ulla Andersen will raise the profile of completed missions. This is also an expense Rasmus Kjær Morten Bramsen Anni Greve Andersen Sebastian “Vlad” Lindoff Miklos Büte Fredrik Ax to the professional; the Agency charges him for the killing of innocent Oskar Lundqvist Johan Flod Jakob Bondesen civilians and officers in duty. Unnecessary publicity is bad for business Stephan Nilsson Henrik Hansen Charlotte Delran Mads H. Peitersen Mads Prahm Chris Edgar and this contributes to the final Damage Control penalty, displayed Anders Pedersen Morten “Mazy” Hedegren Peter Fischer Jesper Kieler Petersen Michael Heilemann Cæcilie Heising post mission. Alexander Pshenichniy Balàzs von Kiss Thomas Howalt Birgitte Bay Overgaard Peter von Linstow Tantiana Højengaard Thomas Storm Roberto Marchesi Niels Jørgensen The professional can handle all expenses (both mandatory and optional) Gyorgyi Szakmar Peter Eide Paulsen Søren Reinhold Jensen upon successful completion of the mission. Rasmus Poulsen Christoffer Kay hbm xbx final.qxd 5/5/06 3:47 PM Page 22

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Support (continued) Alfred Fair Jeremy C. Petreman CEO & President, Channel Marketing CS Supervisor Jørgen Larsen Crispin Freeman Carlos Reig Plaza Eidos North America Project Manager Sean McCloskey Tamir Lomholt Jorge Garcia Billy Pope Bill Gardner Diane Eng Karsten Lund Grant George Earth Miller Bernard Reeves CS Agents Ulf Maagaard Jessica Gee Sam Riegel Executive Vice President Channel Marketing Adam Braswell Foad Mojib Bob Glouberman Daniel Riordan of Marketing & Sales Coordinator Richard Campbell Jonas Nielsen Francois Eric Grodin Paul Rugg Robert Lindsey Rafal Dudziec Senior QA Technician Rune Petersen Nemi Fadlahllah Sam Sako Vice President, Director of Marketing Stephen Cavoretto Mads Prahm Jean Claude Flamant Pete Scherer Legal & Business Affairs Communications Thor Frølich Karen Strassman Assistant Lead QA Technician Genevieve Ripeau James O’Riordan Stephanie Lipetzky Niels Ole Sørensen Heather Halley Mathew Stravitz Richard Hartzell Martin Schröder Danielle Hartnett Miles Stroth Vice President, Finance Creative Services Quality Assurance Christine CT Thårup Stew Herrera Jim Thornton Malcolm Dunne Project Manager Katie Bieringer Kjartan Vidarsson Tish Hicks Trey Turner Vice President, Human Eileen Buenviaje Richard Campbell Stephani Hodge Sal Viscuso Nicholas Cooprider Voice Casting & Direction (US) Tray Hooper Wade Williams Resources Media Specialist KBA Voice Production Edie Dykstra Micheal Tran Ergin Dervisoglu Roger L. Jackson Laura J.K. Wrang Kip Ernst Peter Jessop Featuring the Voice Talents of Voice Recording Studio (US) Marketing Manager Graphic Designer Stephanie Greer David Andriole Bill Jurney Jefferson Dong James Song John Hayes Barry Gordon Mc. Kenna Studiopolis EIDOS U.S. (continued) Mackenzie Hume Barbara Bernád Mark Klastorin Mocap Actors Public Relations Director Web Producer Nick Jacobson Brian Beacock Celestino Lancia Christopher (Jack) Corcoran, Michelle Seebach Curran Roderick Van Gelder Aaron Keillor Joan M. Bentsen Noah Lazarus Tina Robinson, Public Relations Manager Web Designer Erik Kennedy Michael Benyer Micheal Lindsay Bo Thomas, Jamie Treacher Tali Fischer John Lermer Chester Lee Deborah Marlowe Nicole Black Cellist Jeff Lowe Scott Bullock Jennifer Martin Online Public Relations Operations Manager Joshua Pfeiffer Billy Cross Don Mathews Helle Sørensen Specialist Gregory Wu Vivienne McKee Special Thanks Christopher Curry Additional Artwork Matt Dahlgren Senior External Producer Vinny Curto Jim Meskinen Supplied by Mine Loader Jordan Romaidis,

IO-INTERACTIVE National Sales Manager Nick Goldsworthy Mark Deakins Ennis Morris Patrick Goodspeed, Software Co., Ltd. Joe Morici Christine Dunford Bob Neches Associate Project Manager Annie Meltzer, Sean Mylett, Wayne Duvall Byrne Offutt Channel Marketing Manager Clayton Palma Petrol Advertising, Janty Sumimoto Shane Francis Co., QA/CS Manager Danny Jiang, Susan Kwon, Senior Channel Mark Cartwright Jason Bergquist, Marketing Specialist Hanshaw Ink & Image Ilana Budanitsky CEO Creative Development Director QA Lead Technicians Jane Cavanagh Patrick O’Luanaigh David Haddon Germaine Mendes Commercial Director Head of Global Brand Shams Wahid Bill Ennis Larry Sparks MUSIC CREDITS QA Technicians Financial Director Brand Manager Richard Acherki Music sourced by Rob Murphy Kathryn Clements Steve Addis Company Secretary Head of Support Services Linus Dominique Anthony Price Flavia Timiani Allen Elliott Steve Inman Head of European Publishing Senior Localisation Manager Carl Perrin “Double Trouble” Performed by John Mayall’s www.airbiscuit.net — Scott Dodkins Monica Dalla Valle William Wan Bluesbreakers Courtesy of The Decca Record www.zenithcafe.co.uk [email protected] Product Acquisition Director Localisation Manager Special Thanks Company Ltd Ian Livingstone Alex Bush A big thanks to all our Licensed by kind permission from the Film “Tomorrow Never Dies” (Karaoke version) Music: Worldwide CTO Creative Manager European Marketing, & TV licensing division. Part of the Universal Rosendahl/Christensen. Lyrics: Rosendahl/ Julien Merceron Quinton Luck Sales and Web teams Music Group. Rosendahl. Performed by Swan Lee. Karaoke as well as our Finance “Double Trouble” composed by Otis Rush. version sung by Barbara Bernád. Development Drirector Senior Designer department who have done Darren Barnett Jodie Brock Published by Conrad Music, A Division

EIDOS U.K. a wonderful job to make of Arc Music Corp. “Tomorrow Never Dies” (Original version) Music: Executive Producer QA Manager this game happen. Your Rosendahl/Christensen. Lyrics: Rosendahl/ tremendous work is much Neil Donnell Marc Titheridge “White Noise” performed by The Vacation. Rosendahl. Performed by Swan Lee. Original appreciated. A big thanks Written by Ben Tegal & Steve Tegal. Produced version sung by Pernille Rosendahl Assistant Producer QA Supervisor – Functionality also to Tom Waine for by Tony Hoffer. Published by Chrysalis Adam Lay John Ree writing this manual. Music Limited. Franz Schubert (1797): “AveMaria.” The work is in the Public Domain. Appears by kind permission of Chrysalis Music and The Echo Label (P) & (C) The Echo Label Artists: Daniel Perrett, Soprano. Praxedis Rütti, Limited 2004 Soprano. From the album Tudor4 7029 Ave maria. Zürcher Sängerknaben. Conductor: Taken from the album Band From World War Zero Alphons von Aarburg. © 1995 Tudor Recording AG, Published by Zenith Publishing Ltd. © 2003 Zenith Zürich/Switzerland Publishing Ltd. Written by P Watts/S Gillett/ J Reeve. Performed by “Airbiscuit” from the album “Slasher” Music and lyrics: Bo Heidelberg Caldo-Freddo. Recording Copyright 2003 Zenith & Kim G. Hansen Performed by Institute Café Ltd for the Criminally Insane hbm xbx final.qxd 5/5/06 3:47 PM Page 24

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 DOWNLOAD NOW or codes. PRODUCT RETURN PROCEDURE www.eidosmobile.com 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. Visit www.esrb.org

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