Cue No. 39

In the style of the frantic finale of Jurassic Park (1993), the orchestra erupts in a flurry of color as the dragon breaks through the floor and stomps its way through the bank. Another nod to the Norbert material is given a heavy-footed moment, and sync points, such as the chandelier crashing down, get emphasized around it. 

Once the dragon makes it outside, the music stops with it, giving us another Norbert moment, before Hermione zaps a spell behind her and we’re off. 

The dragon leaps off the top of Gringotts, and begins to attempt flying for possibly the first time. This is the first moment the music does not choreograph what is happening on screen. Despite crashes into rooftops in an attempt to become airborne, the dragon’s accompaniment here is that of tonal chords modulating quickly so as to give the feeling of moving upward. It also helps heighten the anticipation of what is to come next. 

Once in the air, the largest and most triumphant statement of the Family Theme sounds out across London. The trio did it; they broke into and escaped Gringotts with another Horcrux. This particular moment, despite the dark subject matter, is a joyous one. It is not only the joy of successfully completing the next step in their mission, but a celebration of their teamwork and friendship. The music responds to this emotional satisfaction appropriately with the grandest Trio Theme heard yet, breathing the sigh of relief that they must feel in this moment, flying on a dragon across England. 

They begin to descend. Harry suggests they jump now that they’re over a lake. The music has died down to strings only, crescendoing until the trio hits the water. 

Underwater, Harry begins to have a vision. The 3-Note motif is sung slowly by male chorus, and double that speed by a female soloist on top of the texture. Flashes of a furious Voldemort come into Harry’s mind. He sees a mass murder taking place at Malfoy Manor. Voldemort knows Harry is hunting Horcruxes. Flashes of the diary, the ring, and the locket come in and out of his mind, before new images appear. Harry begins to see that Voldemort is worried about his remaining Horcrux, which is revealed to be located at Hogwarts. 

After the vision, Harry swims to shore. The strings begin their crescendo and decrescendo chords again. The camera follows the trio uphill and circles around them as they discuss quickly what to do next. Pulsing begins, like a ticking clock, featuring fragments of the Deathly Hallows theme. Once the conversation ends, they are set with their decision: return to Hogwarts. 

At Malfoy Manor, Voldemort is walking among the corpses he’s just produced. The three members of the Malfoy family look on in horror at the scene. A low C is sung by the male choir, softly accompanied above by quiet, chilly strings playing the 3-Note Motif, for the first time in the meter of 5/4. A shot of Narcissa compels the music to gain a sort of compassion for what has transpired, then a long crescendo over the final shot of a dead Griphook, holding the sword of Gryffindor, which magically disappears from his hand.