The Fugitive has been among my favorite films and soundtracks ever since I saw it in theaters. This book presented a unique challenge. Virtually none of the synth material we hear was notated, not in the traditional sense. It would require lots of takedowns—as James played all the complex pre-lay percussion parts himself. Not only would I have to identify all the pitches, but I would also have to create meaningful names for all the captivating sounds. Fortunately, James recalled during our meeting that his assistant in the 90s, Michael Mason, had handwritten copious synth patch notes for him. James put the two of us in touch, and we worked out virtually all the synthesizer elements together. It was equally fortunate that our schedules aligned so James and I could work out a few trouble spots in the nearly-complete book. His invaluable insight into the processes he took into building the musical foundation for The Fugitive was vital to me while forming the book’s spirit.