Spanning quite a tense portion of the film, this cue starts in the trial with Graves, with a bass pedal opening the cue, before the metallic twang associated with the Obscurus as heard in ‘Inside the Case’ where Jacob discovers it, emerges. A direct repeat, this again opens out into the same haunting violin line, which ascends then repeats. A new sad and slow, chromatic idea enters in the strings as Graves sentences Newt and Tina to death, with rising dynamics to match the rising stakes of this scene.

An eerie, gentle idea starts as we see the death cell, but with an underlying sense of discomfort – reflecting the nature of the peaceful looking room. The music rises as Tina’s memories are removed and tossed by Bernadette into the water, reaching a high point with a percussion twinkle, before melting into a very high melodic line on the violin, accompanied by lower strings and choir, reaching a cadence as Tina smiles at her past.

A horn crescendo segues into an excited, tense rhythmic ostinato as we change focus to Queenie trying to save Jacob from his Obliviation. A new repeated melodic idea enters, emphasising the semitone and thus devious nature of Queenie’s Legilimency to achieve her goals. Horn stabs follow this as we transition back to the death cell. Quiet screeching strings overlay brass flares as Newt’s memories are about to be extracted, as Pickett undoes his handcuffs, at which point it all comes to a halt and we get a rousing rhythmic idea from the whole orchestra, as the start of this action scene really begins. It rises before dissipating into a nostalgic harp, woodwind and choral descending idea as we see Tina’s memory of her defending Credence. The strings dovetail back into the more adventurous rhythmic idea, before ceasing completely. A troublesome sounding woodwind passage begins as Tina wakes up and realises her situation, with a chromatic pedal in the strings. Fragmentary stabs underscore this scene as Newt plans her escape, with more coherence gradually gained before the strings start a lyrical idea which rises and rises in dynamic and pitch, before a big hit on a major chord as Tina makes her leap across the Swooping Evil and to safety.

A string descending arpeggio lands us into the last quarter of this cue which is the Swooping Evil, with the first appearance of thematic material. A pulsating quaver foundation starts before blasting out into the ‘Heroic Theme’ as our heroes run through MACUSA.

The last bar of this idea modulates into a minor key as we cut to Graves coming down the stairs, still keeping the same rhythmic intensity. A new alternating idea appears after this, going between two notes twice before doing the same thing twice more sequentially at a different pitch. Elements of the ‘Heroic Theme’ can be heard here, with just a slight reference to the ‘Fantastic Beasts Main Theme (A)’ with the opening 3 notes being used here, in a rhythmically modified way.

As our group reunite, we then cut to Queenie trying to leave MACUSA with the case – the harp gives a chromatic arpeggio to match the transition to this awkward scene with Abernathy. An inverted string pedal sits over the top of randomly placed bass notes and then an uncomfortable sliding in the strings, before settling on a dissonant last chord to carry us out of the scene.