At 144bpm in E minor, this is the album's longest cue: driving live strings with a featured violin line, plucked ostinato figures and hybrid trailer drums that escalate toward a heavy orchestral back-end. The E minor centre gives it a slightly darker, more determined cast than its siblings, and the extra length allows a full build from nimble opening to full percussion payoff.
The title cue and the most overtly baroque of the set, with harpsichord and clavichord threaded through live strings, solo violin flourishes and 150bpm trailer percussion. It runs fast and bright in D minor, tumbling forward with virtuosic string figures before a massive orchestral-hybrid finish.
G minor at 140bpm, with piano added to the plucked strings, live orchestra and trailer drums for a slightly more scheming, cloak-and-dagger character suggested by the title. Builds from clipped staccato motion into a big percussive back-end without losing its playful, mischievous edge.
The one major-key cue at pace: 150bpm in E, with harp and pluck lightening the live string writing into something flirtatious and comedic rather than threatening. Trailer drums and orchestral hits still deliver a full-sized finish across a tight 3:10.
The shortest and most edit-ready cue at 2:52, sitting at 135bpm in G major — the slowest tempo here but the brightest key, giving a chase-with-a-grin quality. Live violin and orchestra over plucked ostinati and trailer drums, arriving quickly at a big percussive back-end.