Cues No. 35 & 36

At the moment Moody begins questioning Harry about Voldemort’s return, the Three-note motif begins, reflecting the threat of darkness that has now come to fruition. The motif moves to a new key as the Polyjuice Potion begins to wear off. This was an unplanned wrinkle. Low rumbles accompany the third statement of the Three-note as anxiety begins setting in for Moody, or who we thought was Moody. He runs back to his potion chest to try and find a bottle, but they are all empty. The Three-note freezes mid-motif when Harry clarifies that he never mentioned a graveyard. Moody’s been figured out.

Low cellos and basses begin moving around ominously as Moody begins to monologue. This motion repeats in parallel triads. The plotting motif enters the texture in the violas, with whole-tone harp above it. Perhaps Moody’s plan did not work after all. The Three-note returns when he takes blood from Harry’s wounded arm. The violins begin crawling up a slow, ominous scale as the tension builds. The whole orchestra begins to get louder and louder. Harry is cornered and Moody is approaching slowly. At the moment he’s about to strike, Dumbledore, Snape, and McGonagall come bursting through the door. A flurry of tremolo strings, high woodwind shrieks, and timpani throw Moody back into his chair, turning the tables and making him the one now interrogated.

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Chromatic movements upwards and downward clash as the chest begins to open. Once the dissonant chords clear and we can see inside, the plotting motif plays in a major key for the first time, representing the true Mad-Eye Moody. The motif quickly gets distorted again when the question then is asked: who has been disguised as Moody all year?

The Polyjuice Potion is beginning its final stages of wearing off, and the end of the plotting theme becomes insistent in the cellos and basses. Trills move chromatically upwards, and the violins begin their ominous ascending scale again, this time over the plotting motif instead of the Three-note. At the final moment of transforming back into the now-revealed Barty Crouch Jr., the timpani plays one last glorious plotting motif, then the orchestra explodes as he leaps towards Harry.

Voldemort 1 plays over stirring strings as the Dark Mark confirms the events that had just taken place. This quickly moves into a Three-note display surrounded in excited and arpeggiating violins. Voldemort has returned, and Dumbledore now has proof from one of the most loyal servants. At the end of the Three-note section, a lonely D minor chord sounds in the woodwinds and a wide shot of Hogwarts, a changed Hogwarts, comes into view.