itself, the carrier would not have come off the (cab), ... It could ride there forever, even though it's been released, just due to the weight of the carrier. So we needed the 'holdback' cable to the truck behind, and on cue, the driver locked his brakes." After the carrier disengaged from the cab, steel castor wheels attached to the underside of the carrier directed it to the center embankment. A stuntman who was riding in the carrier fired 3 cannons to physically lift it over on its side. A small jet aircraft, (Hansa-Jet), pursuing the lead characters played by Eastwood and Sheen, complements another tightly coordinated stunt scene (aerial coordinators James W. Gavin and Eric W. Gray). After chasing the two detectives through a grassy area, the Hansa-Jet is hit by a Convair 880 depicted as landing, (the initial sequence showing the aircraft on approach uses a BAe 146). Both the San Jose and Mojave airports were scripted as LA International Airport during filming of the scene. Right before the impact, the Hansa-Jet was actually stationary being pulled by a 150-foot steel cable attached to a 4-wheel drive pickup truck right before the explosion erupted. Frazier explained, "The reason we did that is because if the planes collide first, it's likely they'll upend all our wires and the explosion wouldn't occur at all. Another reason is that had the Hansa-Jet not demolished before impact, it could have spun the other plane around, and we might have ended up with the 880 in our shot instead. The ensuing explosion after the Convair dissects the Hansa-Jet was powered by 10 gallons of gasoline and 4 separate 18-inch mortars. The detonation device included a 125-foot electrical cable set off by a bull switch to help achieve the desired effect. Music The score for the film which included elements of jazz music and considerable use of the trumpet, was originally composed by American saxophonist Lennie Niehaus. The music score was mixed by Robert Fernandez and edited by Donald Harris. The sound effects in the film were supervised by Robert G. Henderson and Alan Robert Murray. The mixing of the sound effects were orchestrated by Donald F. Johnson and Michael Evje. Although not officially released, music from the soundtrack included songs entitled "All The Things You Are" written by Jerome Kern and Oscar Hammerstein II as well as the "Red Zone" written by Kyle