D.O.A., scored

The film is scored. The scored video, the printmaster and the music-and-effects stem are in the studio, delivered at −16 LUFS (web) with true peak at −1.7 dBTP.

What I heard and saw: the film has no soundtrack at all, so there was no old music to remove. The picture is one unbroken shot: the end titles roll while a man walks toward us down a long, lit corridor.

Why one cue instead of a sparse one: you asked for sparse coverage (35%), and the spotting pass suggested music only from 26 s to 54 s. On a silent title walk that would leave nearly half a minute of dead air, so I wrote one cue, 1M1, across the full 80 seconds. If you want it sparser, I'd rather thin the instruments than leave gaps.

1M1, "The Walk" (C minor, about 64 bpm, a slow walking pace):

• 0–15 s: the double bass plucks half notes like footsteps under soft piano chords, with a falling three-note figure on the piano.
• 15–45 s: the tenor sax plays the theme, a weary, bluesy line that ends on a falling phrase. The bass starts walking in quarter notes and the brushes come in.
• 45–67 s: the muted trumpet takes the theme an octave up while the sax holds long, low notes underneath. The harmony gets darker and it climbs, ending on a brush roll.
• 71 s: as he reaches the end of the corridor, everything lands on a C minor chord with a raised seventh and a cymbal. It's an unresolved chord, so it ends on fate rather than relief. The trumpet holds its note and the piano adds a last high echo as the picture ends.

Approximations:

• The first drum recording came out as a house-music kit, so I re-recorded it with a live jazz drummer on brushes. That take plays every written hit but adds some ride cymbal and soft kick of its own, which I kept because it suits the style. The last stroke of the build-up roll is missing.
• The automatic tone check thought the plucked bass sounded somewhat like a guitar, and the muted trumpet like a harmonica. Both played all their notes, but listen to those two first.