The original cut opened on an establishing shot of a tree in a grassy field, that served as an unmarked burial ground for enslaved Africans in North America and underscored "Jesu, Joy of Man's Desiring"[a] in organ to sound like a funeral, but after the shot was replaced, Abels composed a theme similar to that piece which was a series of downward triplets composed by using French horn.

[citation needed] Both the director and composer agreed that the film should have a classical score, contrasting the 1990s hip hop music used as needle drops and throwing the audience off balance.

"[1] Another theme was curated using waltz motif for piano and harp when the scene showcases the underhanded deal between the funeral corporation and the Black church.

At the end credits, which showcases a shot of the burial ground, Abels rearranged another piece of "Jesu, Joy of Man’s Desiring" that also interweaves the main theme he had composed for.

"[2] Patrice Witherspoon of Screen Rant wrote "Composer Michael Abels ensures that every emotion we’re supposed to feel is supported and amplified through his music.