A distorted ripping sound peels away an audio skin layer in "Runaway Bus," which takes us into THEY CRAWL. Acree constructs this track to make us comfortable with the soft underscore but just when we think it’s safe, that’s when he strikes us with massive brass and the rest of his orchestral power.

"Opening Credits" feature electronic percussive elements with gentle backing. The rest of the score has many more quiet cues, where Acree brings a softer emotional touch. These include: "The Wake," "Gina and Ted," "The Case Re-opens," "Autopsy" and "Ted Investigates."

The score starts to get more intense and dramatic about halfway through with "The Exterminator." The bottom end sound register of "Tiny Frakes" is really cool. The percussion of "Tiny Runs" sounds like the beating of a heart mixed with lungs breathing hard.

Acree follows "Ted’s Story" with heartfelt piano, pulsating metallic sounds and throbbing bass. Then he continues to create gentle waves of cinematic melody with "Ted Interrogated" and "Blueprints."

"World Domination" almost feels like something you’d hear in an espionage film or political thriller. "Lazarus," "Tiny Is Caught," "The Chair" and most of the remaining other cues prove that Neal Acree was composing a score that was more focused on subtle underscoring rather than loud action scoring.