Cue No. 14

Dissonance opens this cue, now that we are down in the courtroom where Mary Cattermole is being interrogated by Umbridge herself. Minor brass and strings brood under Harry and Ron walking towards the location of the real Horcrux. On the long shot that pans up towards the dementors, choir joins the ascending minor chords in the strings. Cellos trill and move downward, opening up the range of the orchestra as the chasm on screen widens. A tam-tam announces the arrival of the top of the phrase, showing us the dementors high above. 

The 3-note motif plays for the first time over the locket, confirming that this one around Umbridge's neck is the real one. Her theme is intertwined with the 3-note motif since they are in the same shot. Minor chords continue and hold for a moment. A dark Umbridge theme comes in as she continues her interrogation. 

On the shot from above the courtroom with dementors in the foreground, a trio of trumpets plays with high strings answering above them. This is a callback to the exact same shot in Harry Potter and the Order of the Phoenix (2020) when Harry was attending his hearing. Umbridge's theme and the 3-note motif continue as a duet in the flute and horn. Dissonance builds as Harry prepares to stun her. 

Drums take over at the moment Harry throws a stunning spell at Umbridge. She loses consciousness and Hermione grabs the locket. A big Hedwig's Theme fragment plays heroically in the brass as Yaxley realizes it's Harry Potter, not Albert Runcorn. The dementors escape since Umbridge's patronus has disappeared, and the original Dementor music from Harry Potter and the Prisoner of Azkaban (2004) chases the trio and Mary out of the courtroom and into the lift. Harry sends a patronus at the Dementors, and the orchestra cuts out to let choir in, as they have always represented the patronus in the past. 

Back on the atrium level, the cellos, basses, and timpani strike repeated notes. Strings and harp play with anticipation over them, nervous about how the escape will now take place since the Polyjuice potion has worn off for two of the three trio members. The music holds when the lift opens, then continues as they begin to move. It pauses once again as Mary turns to Ron (who she thinks is her husband). He insists that she get the family and leave. She kisses him, still not knowing it's actually some boy she doesn't know, and at that moment his potion wears off too. Ron's theme plays its way through several keys as he appears again, accompanied by descending trills and staccato woodwinds. Cellos finish the awkward moment and calm down under the orchestra before they realize they are still in the Ministry and have to escape. 

The strings pick up the tempo considerably as they begin to run through the atrium. Yaxley gets off the lift, accented by a huge orchestra entrance that booms with militaristic anger. A similar orchestral moment happens on the wide shot of the atrium. Triplets reprised from Cue No. 4 return, although this time it is an escape on foot rather than in the air. A buildup of all material previously heard in this action scene arrives at a massive slow horn statement of the Ministry Theme. The trio leap into one of the last open fireplaces, then just get caught by Yaxley as he jumps in after them. They Apparate with a series of visual struggles accompanied by aleatoricism, and they appear to lose him, though their new location is a mystery to us.