Mission #4 Hesperia Railways - Guide for Tom Clancy's Splinter Cell: Pandora Tomorrow

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                  SPLINTER CELL PANDORA TOMORROW
                   MISSION #4 HESPERIA RAILWAYS
WALKTHROUGH SUBMITTED BY: Derrek Silvas at derreksilvasnc@aol.com
************************************************************************************
**Objective #1: Question Norman Soth**
	Your mission begins, thanks to the marvel of modern technology and 
helicopters in particular, on the train's back car.  You have nowhere to go but 
forward, so let's plan your best route.  Notice a trapdoor on the roof of the car 
directly in front of you.  A peek with your optic cable reveals a shadowy interior 
stacked with all kinds of junk, including a bicycle and some suitcases.  It appears 
to be a storage compartment.  You could drop down here safely.  No one occupies this 
back car; it's a safe zone of sorts.  However, we're going to sneak ahead a bit.
	Move forward along the top of the car until you reach the second trapdoor.  
Peering down inside shows you the second half of the storage car.  If you look very 
closely, you'll see a cage, and in that cage is no other then a very unhappy dog.  
Drop down inside the back car at either the first trapdoor or the second and you'll 
have to deal with a yapping dog.  Why take the risk of someone over hearing the 
racket?  Instead, press on to the second train car.  You can jump down safely off 
the roof at the juncture between the first and second train cars.  No more roof 
jaunts for you; it's time to head inside away from the screaming winds and whipping 
lights.
	Move inside and stand in the shadows near the door.  A quick observation 
shows a security cabin, complete with a locked fence at the other end and a guard 
watching over this "secure" area. Unfortunately, your point of entry has put you 
inside the security cabin and you must get past it.  You can attempt this one of two 
ways.  The first requires that you draw the security guard into the locked area.  
Cause a disturbance--make a quick dash into the light and then out again, or create 
a noise of some kind--and let the guard know that something is there, without 
knowing exactly what that something is.  He will enter the locked area to 
investigate.
	Position yourself on the side of the central storage rack opposite the guard 
(AND MAKE SURE ALL THE LIGHTS ARE SHOT OUT).  When he enters the area at the back of 
the car, pop him in the head.  He's a lightweight; one strike should bring him 
down.  Be sure to hide his body back in the shadows.  Now you’re free to search the 
front of the car.  Sure enough, a trapdoor lies in the middle of the floor right in 
front of the security window.  Alternatively, you can try to slip by undetected.  
This is much more difficult.  You must enter the half-lit area at the front of the 
car and wait until the guard preoccupies himself for a few seconds.  Dart for the 
trapdoor in the floor, open it without hesitation, and duck down.
	Now for the insane part--you have decided to crawl along the underside of 
the train.  The slightest mistake and you'll go splat like a ripe tomato on 
concrete.  Wiggle down to the underside pipe and shimmy along to the front of the 
car.  Take your time and don't go too far or you'll miss your trapdoor entrance back 
up into the car and that's the last thing you want, to be stuck out under the train 
until it stops.  When the interaction menu appears to give you a chance to head up 
into the car, don't take it right off.  A guard likes to wander in and take a 
smoking break, so if you head up at the wrong time, you'll come up right between his 
legs.  Feed your optic cable through and monitor the car.  No guard: head on up.  
Guard: wait until he opens the door and ventures back toward the coach cabin before 
you can push through the trapdoor.
	Inside the small room, search the walls until you find a control panel in 
the corner.  The controls unlock the train's side doors, which will prove useful in 
a few moments.  Only one door leaves the area; stick around too long and you could 
set off the alarm.  After the side doors are unlocked, exit through the door and 
duck into the shadows immediately to your left.  The shadows will keep you safe.  
Had you gone right, you would have entered the coach cabin where a bunch of guests 
partake in some rest and relaxation.  Grim chimes in on your communicator channel 
and lets you in on some more bad news.  Two of the passengers in coach purchased 
tickets linked to Soth, which means they're part of the terrorists group he's 
running around with.  Lambert warns that lethal force is not an option, and you 
can't slip through the bright lights of the cabin without being seen--plus, walking 
up the aisle would be a dead giveaway too--so you must find another way.
	Retreat through the door behind you (the one in the shadows).  It's a small 
connecting room with a map of France on one wall.  Stand in front of the map.  You 
have side doors off to your right and left, and a regular door straight ahead.  If 
you head straight, you'll find yourself staring back into the security room from 
where you started the mad crawl on the train.  The door on your right opens up to 
the rumbling train wheels and rolling terrain.  Jump out that door and you'll break 
your neck and have to call it quits, weather you want to or not so I wouldn't 
recommend this door unless you have a death wish.
	So there's only one door left and it's on your left.  Like its opposite 
counterpart, it too leads to the outside and sudden death if you fall but unlike 
it's counterpart it has a railing that ruins up the left side.  You can grab onto 
this railing and hoist yourself up to hold on to the lip running along the roof.  
Dodging the whipping winds and other passing trains which threaten to suck you off 
your ride, you must cross the train's exterior inch by inch.
	Hold on for dear life and start shimmying along the train's side.  If you 
hang down past the passenger windows, all your movements will be clearly visible to 
anyone glancing out the window.  You should pause before each window and scout out 
whose inside.  When no one decides to sightsee outside the moving train, you can 
cross to the next safe zone--either a windowless wall or curtained window.  Begin 
your journey handhold by handhold.  The first three windows are cakewalk.  No one 
sits in the first compartment and you only have to wait a few seconds for the man by 
the second window to sit down and ignore the window.
	The forth window can be a problem.  A woman sits in the seat to the left of 
the window and gazes out.  You can't pass while she's looking out the window, and 
she stares for a long time (Watching the scenery, admiring her reflection; at one 
point, she even breaks out her lipstick and puts it on, using the window as a 
mirror).  Patience pays off here.  Let the woman do her thing and eventually she 
tires out and settles down for a nap.  As soon as she closes her eyes, shimmy to the 
right and into the safety of the next set of curtains.
	At the next window, a man sits in the right hand seat.  He stares straight 
ahead.  Cut across the window however, and he might spot you with his peripheral 
vision.  Study the man's gestures for a hint on how to get by unnoticed.  The man 
pauses periodically and scratches his head.  When he raises his hand to the side of 
his face, his hand blocks his view of the window.  Make a break during that split-
second and you can pass without incident.  Shimmy to the next door and you're home 
free--for now.  Climb inside and continue forward through the door.  Don't go back 
to coach class unless you've given up on being a spy and want to kick back in a 
recliner.  When you get to the connection room with the sliding glass doors, slow 
down.
	Through the second glass door, you spot someone standing in the corridor.  
The train conductor talks to a passenger who has lodged a complaint about the noise 
level.  Remember, these are glass doors and the conductor can spot you through them 
in the well-lit room.  Ok one guy stays behind after the conductor leaves, you have 
two choices either take him out now, or later on in the mission ok if you want to 
plug him now then listen.
	Shoot out all the lights in this little room then open the sliding door if 
he doesn't come after you when it opens then whistle.  Now when he starts to come to 
you hide near the tall shelf, and then when he opens the door knock him out with a 
blow to the head.  If he finds you then don't worry too much all he does is duck and 
cover his head in fear.  But still just incase knock him out because he might have a 
burst of courage and sound an alarm.  But if you didn't want to get him now then 
listen to the rest of the mission.
	Don't cross in front of the two men until you see the conductor disappear 
down the long corridor.  It's safe to open the door only after the conductor moves 
to a different part of the train.  Third Echelon broadcasts some more Intel, which 
leads you to figure out that you can trace Soth by his prosthetic leg (it will show 
up a different color in thermal vision mode).  Now you have to go door-to-door and 
try and weed him out.  The first door in the sleeping car stands wide open.  A man 
reads his book on the bed, but he's not too intent to miss you.  If you don't want 
to take time to knock him out then that's ok because all he does is duck in fear and 
you can walk be freely but if you want to be safe (recommended) then do this.  Run 
in there and sock him in the mouth.  He goes down with one punch the hard part is 
hiding him.  The bed and floor won't do; too much light.  Ironically enough, you 
must drag him out into the shadowy corridor and dump him in the darkest spot next to 
his door.  No one will find him there, at least not until you've finished the 
mission.
	Slide down the hall to the second compartment.  Your optic cable reveals a 
man pacing his room.  You can enter and knock him cold if you want but let’s not 
waste time.  There's no reason really, since he will stay inside the whole time and 
not bother anyone.  In fact, you always run the risk of raising an alarm if you do 
attach him.  (If you can't take out a normal passenger, though, you're in trouble 
when armed terrorists arrive).  Norman Soth sleeps in the third compartment.  Click 
on thermal vision and slide your optic cable under the door.  You can see Soth and 
his irregular heat signature seated to the left of the door.  He's sound asleep so 
go ahead and enter.
	You wake up Soth to speak with him.  He doesn't reveal too much.  Soth 
claims the C.I.A. wanted a military presence in Indonesia and that he was part of 
it.  You ask him about his handler, and when he gives you a name, Third Echelon 
immediately runs a background check on the name.  It turns out this particular 
contact has been out of the picture for a year and a half, so you know Soth's 
lying.  Before you can trip Soth up and make him say something useful, a mercenary 
knocks on the door and tells Soth he has a phone call from the boss.  Soth urges you 
to stay hidden so as not blow either of your covers.  He then leaves the room and 
talks to the guard outside the door.  Stay down in the shadows while the door 
remains open.  The mercenary will spot you if you move too much.  When the door 
closes, you can speak with Lambert without worrying about a gunshot wound.
**Objective #2: Record Soth's cell phone call**
	While Soth chats with the mercenary outside his room, take advantage of this 
distraction to hack into his computer system.  The information contained there will 
help Third Echelon figure out what's going on around the mysterious Norman Soth.  
Meanwhile, Lambert gives you the go-ahead to trail Soth and record his phone 
conversation with your laser mike.  A 45-second countdown commences.  If you don't 
set up your mike in that time frame, you'll miss your opportunity and abort the 
mission.  After you hack Soth's computer, slide an optic cable under the door and 
watch the conversation between Soth and the guard.  Soth tells the guard to head to 
the back car, and they walk off to the right.  Don't step out into the corridor 
until they're gone from sight.  Try to avoid going too fast or you'll bump into them 
and the gig is up.
	Follow Soth and stop outside the bar car door.  (As usual, rely on your 
optic cable at each door to scout ahead and avoid detection).  The bar lies to your 
right, with one guard staking out the wall to the left.  In the back, left corner, 
Soth begins his cell phone call behind a glass plate.  A second guard hangs out in 
the back right corner.  So as long as the front guard isn't looking at your door, 
you can enter the bar area.  Step to your right and into the shadows cast by the bar 
itself.  Equip the laser mike and inch out to your left to zero in on Soth's 
conversation.  You must aim the laser mike at Soth's mouth (or head) to pick up the 
full conversation.  Anything short of that will result in garbled transmission and 
only bits and pieces of the whole talk.  You need everything, so hold it steady on 
his cell and don't move.
	When you get the okay from Lambert that the transmission has been captured, 
duck behind the bar and wait for Soth and one mercenary to head back toward Soth's 
room (probably to do something about you).  Ok this has a shortcut way that is 
lifesaving and I think its better so listen here it is.  When you see Soth pass the 
bar, a guard follows.  When you see the guard about to open the sliding door jump 
out (quietly) and grab him because this guy is supposed to kill you later on and he 
does a very good job so this is why I’m telling you this way.  Now knock him out and 
drag his body behind the bar in a hidden place.  Now that was the shortcut and 
better way now here is the rest of the mission and in a second you'll see why I told 
you to take out that guy.  During this time Lambert will order you to exit the 
train.  You haven't grabbed the traitorous Soth, but the mission is a success anyway-
-if you get off the train in one piece.
**Objective #3: Escape the train**
	While Soth wanders to the back of the train, Grim runs the stolen 
transmission through a translator and comes up with some partial facts for you.  The 
phrases "Springfield demonstration, "80 percent plus fatalities" and "daily phone 
calls to delay release" were exchanged between Soth and his boss, Sadono. All the 
phrases sound ominous, and it'll be up to you to unravel the mystery surrounding 
them.  Now take on the guard in the bar car.  You can't shoot him even though he's a 
prime target.  Lambert hasn't given the order for lethal force yet (but he will 
after you leave this car).  Instead, creep out to the shadow area and whistle for 
the guard.  He'll approach and you must sock it to him without missing a beat or 
he'll sound the alarm.  The guard weighs in heave; so one punch won't bring him 
down.  Hit him once in the face to stun him, then swipe him from the side to finish 
the job.
	Cross to the other side of the bar car.  While you pass through to the other 
door, Soth announces over the train's loudspeakers that they're getting off the 
train and that you should be shot on sight (which isn't good).  You contact Lambert 
and get the okay to use lethal force in your next encounter (which if you didn't 
knock out the mercenary that left with Soth at the bar when I told you too then your 
next encounter is NOW!!).  Enter the front car and it will trigger an attach from 
behind (the mercenary that left with Soth has doubled-back around to surprise you 
from the rear unless you knocked him out when I told you too).  Before you can even 
reach the trapdoor Lambert spoke of, the mercenary opens the door you just came 
through and starts firing.  If you aren't prepared for this move, you will be gunned 
down in seconds.
	Luckily I have a backup plan if you didn't knock him out when I told you 
too.  The front compartment has lots of alcoves you can duck into for cover.  Don't 
try the door on the front end; it's locked and cannot be picked.  Roll into one of 
the niches or side walkways past the ladder.  Down on life?  Refresh with the med 
kit on the wall next to the ladder.  You have to be in tight for your SC pistol to 
aim accurately.  From the first two alcoves, you can snap off a head shot and 
decommission the bad guy before he walks through the door.  Farther down, you can 
aim from either of the side walkways and lobotomize him while he approaches down the 
only aisle.
	Sometimes you won't be fast enough to reach the front compartment.  Instead, 
the second guard will attach you in the bar car.  If he does, draw your pistol there 
and pop off a few head shots to bring him down before you head to the ladder.  Climb 
the ladder and unlatch the trapdoor to the roof.  An enemy helicopter hovers 
alongside the train with its sights on you.  When you try to reach your extraction 
point at the back of the train, the helicopter's machineguns chip away at you.  Run 
toward the Osprey at the rear of the train, and each time the helicopter shoots at 
you, roll to minimize your exposure.  Be careful not to roll off the edge or you'll 
break your back and fail the mission.  Your pistol against the helicopter's arsenal 
would leave you a few years short of retirement.  The Osprey, your ace in the hole, 
comes to the rescue with a burst that causes a fireball to spit up from the enemy 
helicopter as it veers and crashes in the neighboring hills.
	Your last task is to reach up and grab the Osprey's rope.  Safely tucked 
inside the allied bird, you can stew over the fact that you had one of the 
terrorists in your hands, Sadono's second-in-command as it turns out, and you let 
him go.  If any more deaths occur, it's going to get personal.

*Yes I know it's only the first through the forth levels but don't worry I'm going 
to do all of the levels, 1 through 9 but if I would have put all of them on just one 
walkthrough it would be real real long and it would take you so long to read it so 
don't say that this is all I did there will be more probably in a week or two.  If 
you need any help with the game or want to give tips for any of the levels I will 
put your name in it for the tip.  E-mail me at derreksilvasnc@aol.com for any of the 
above.

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