A flaring bass foundation opens this cue, which covers a very tense portion of the film in the build-up to the climax. The A idea of the ‘Obscurus Theme’ enters, acting as an ostinato which builds in dynamics and orchestration before diverging into an arpeggioic idea in the same rhythm. With more harmonic exploration in conjunction with this, these next few bars are very dark, with a horn countermelody woven between the altered ‘Obscurus Theme.’
This rises to a subito piano inverted string pedal. A cymbal roll bursts out into a heavy accented, dotted figure in the brass and strings. This remains as a rhythmic ostinato with a lower brass melody. Quickly changing, this idea keeps a similar rhythmic drive, now alternating between 3 notes only for two bars before a sweeping string idea launches over the top of it, with a new oscillating figure in the violins, almost reminscient of an Alberti bass, with thundering percussion driving it forwards. A string crescendo marks the end of this passage, after which follows a brass fanfare and then a dramatic pause, and chromatic hit to end ‘The Obscurus.’
A slowly rising string idea enters before a majestic ascending brass figure overtakes it. A new idea in the brass in 5/4 with a rippling quaver accompaniment in the strings comes in, before the strings once again take the melody and lead into a huge idea, utilising the full orchestra – with wind and string flourishes and a chromatic melody in the brass. This softens into a crescendoing long note, which breaks out into a punchy, stuttering fanfare, with a faster tempo and accenting percussion. A dramatic string scale takes us out of this and up into the entry of the choir, with orchestral accompaniment. Two blaring five note figures sit atop this before stopping and a growling brass pedal marks the pause between sections. A new idea in 5/4 appears, simply outlining a descending scale, but rising in pitch each time, with increasing chromaticism before reaching the top and now six notes; a homophonic, rhythmically augmented version of this descending idea takes us down, from strings into brass to a tense held note at the bottom of the texture which diminuendos until the end of this intense cue.