At first, I did not plan on writing a bonus chapter for The Dark Twilight. Thanks to my friend ValueMyHeart, who suggested this idea, I have decided to write the chapter and finish off The Dark Twilight with something extra, but an addition that helped me through the story.

In this bonus chapter and the one that follows, readers will not only find out which musical compositions I sought out to add to either the mood or tension to a specific chapter in The Dark Twilight, but also descriptions of where they are located in the story, as well as where these musical pieces are supposed to fit. I will admit this has been a journey through both the story and its accompanying music. Similar to the characters in The Dark Twilight, all music belongs to their respected owners.


Bonus Chapter One:

Musical Movements

~ The Dark Twilight – Music Playlist One (Part I) ~

"Once Upon A Time" ABC Extended Soundtrack: To start The Dark Twilight on a good, but interesting note, I selected this piece as an overture to Part I of the story. This extended soundtrack sums up not only where it was originally written, but also should help clarify to readers that The Dark Twilight is an epic multiple crossover story and this story certainly stayed true to that fact.

"Under the Stars", from "The Lion King": Since the Prologue begins at the Pridelands, this music works well with the main plot of The Dark Twilight and how the nine heroes would eventually become allies in their search to find the source of the stars falling from the night skies.

"The Shire", from "The Lord of the Rings: The Fellowship of the Ring": Starting at Chapter One, readers I am sure noticed the scenery changed. Moving from the Pridelands to the Shire, this musical piece accompanied the chapter so well that naturally, I decided to add the theme to my first playlist for this story. There is a sense here of what the hobbit, Frodo Baggins, fought for on his journey to Mordor and with this story's quest.

"Somewhere In Time/Rhapsody on a Theme of Paganini", composed by Christopher Peacock: For Chapter Two, I searched for a theme that could relate to the light-heartedness brought about by the Evenshire Camp. Eventually, I did stumble upon this music and found that the composition fits with the tranquility of the white, sandy beach before the Evenshire Camp, but also the quietness brought about on those lazy days. In all, this music stands as the Evenshire Camp's theme.

"The Story of Mumble Happyfeet", from "Happy Feet": With Mumble's entrance in Chapter Three, followed by the events in Chapter Four with the Training Arena, this music altogether stills stands as Mumble's theme music. After searching for months, I finally found this theme music, which has been added to the first playlist for The Dark Twilight.

"Villains of a Sort", from "Kingdom Hearts": This piece was actually meant to accompany the first section of Chapter Five, when the villains first discovered Edmund Pevensie facing off in a duel with Frodo Baggins. The villains present inside the underground chamber, where the Black Cauldron would sit a few months after this meeting, included Maleficent, the Evil Queen, Jadis, Scar, Zira, Nuka, and others who may or may not have been mentioned.

"Magic Mirror", from "Snow White and the Seven Dwarfs": The first time readers listened to this theme was in Chapter Five, when the Evil Queen addressed the Magic Mirror, learning the supposed fate of the villains, should the hobbit Frodo Baggins defeat them.

"Practice, Practice, Practice", from "The Swan Princess": This is the first song to accompany the chapters in The Dark Twilight. Originally in "The Swan Princess" during the target practice scene, the irony is this song is brought to Chapter Seven, during the target practice amongst the many hero archers versus their live targets, which meant the talking animals that generally detested this practice.

"100 Rat Dash", from "Ratatouille": Perhaps one of the tracks to enter and exit this first playlist the most, for reasons beyond my knowledge, this piece accompanied Chapter Eight so well, enough that Remy, the professional chef rat, entered the story in his typical manner, which also meant arguing against his dad, Django, at times.

"Magic Dance", from "The Labyrinth": Finding another way to introduce, once more, one of the main villains of the Epic Struggle series, this song came naturally to me as Jareth's theme song. While this may not be considered a theme for him, I decided to add this song to the playlist for the sake of knowing he was there, in Chapter Nine, and throughout the rest of The Dark Twilight.

"Dive into the Heart/Destati", from "Kingdom Hearts": For Chapter Ten, not entirely too similar to Sora's dream in "Kingdom Hearts" – with the exception of one stained-glass window – this piece was heard throughout the duration of Frodo's dream, which was as short as this version. Nonetheless, that first section of Chapter Ten fit every beat and ended at the same time as the music.

"The Medallion Calls", from "Pirates of the Caribbean: The Curse of the Black Pearl": Even after readers read about Frodo's latest dream, in Chapter Ten this piece accompanied the entrance of a known scallywag and pirate captain, Jack Sparrow. Obviously, his entrance and arrival at the Evenshire Camp was not welcome by the heroes, including Anakin Skywalker.

"Jack Sparrow", from "Pirates of the Caribbean: Dead Man's Chest": Beginning at Chapter Ten and continuing throughout the rest of The Dark Twilight, Jack Sparrow's theme music has entered and re-entered the story, giving readers a hint that Captain Jack would do something or say something that may or may not have pleased the heroes.

"Apparition on the Train", from "Harry Potter and the Prisoner of Azkaban": In the thick of Chapter Twelve, in the second section of this chapter, this piece accompanied the chapter only when the Dementors, which came from Harry Potter's Wizardry World, entered the scene. Although they are only mentioned, the Dementors are hinted most when Frodo felt as if he would lose hope and fall into despair.

"Lost In Space" Film Theme: This piece was also brought about in Chapter Twelve for the Game Night sequence, which was done by the talking, crazed animals at the Evenshire Camp. To be honest, this theme music fit the game night so well that even Reepicheep was fed up with the loud, blaring sounds coming from the enclosed pavilion. As for Amor, he had his own issues that should have been clarified, before he attempted the game night.

"Darth Sidious", from "Star Wars: Episode I – The Phantom Menace": Chapter Thirteen was the first time the Sith Lord, Darth Sidious, appeared in this story. To help recognize his presence in that chapter, this piece helped accompany that moment, but helped to bring forth the dark mood that the villains already brought to the chapter.

"Cold", from "Twilight Saga: Breaking Dawn – Part I": I am sure there were not a lot of readers who wanted to listen to music from the "Twilight" saga. Either way, this song ended up at the beginning of Chapter Fourteen to show how Frodo was trapped inside his own mind, due to the Dementors.

"Rocky Road to Dublin", from "Sherlock Holmes": Although most readers would recognize this song better from the new "Sherlock Holmes" film, instead this is a traditional Irish music. Somehow I could not resist and I soon added it to the first playlist for this story. This song was reprised a few times in The Dark Twilight, after Chapter Fourteen, in which this would soon become my OC hedgehog Amor's theme song, as well as his family's theme.

"Duel", from "The Chronicles of Narnia: The Voyage of the Dawn Treader": Towards the last section in Chapter Fourteen, Reepicheep encountered two familiar faces: Huckleberry Finn and the Artful Dodger, or Jack Dawkins. The way this piece flowed into this scene was when Reepicheep engaged in a duel against the two boys. This was soon ended by Amor, who distracted Dodger long enough for Reepicheep to take the advantage and win the duel.

"Main Title/Huck Finn", from "The Adventures of Huck Finn": Moments into the end of Chapter Fourteen and throughout some part of Chapter Fifteen, Huckleberry Finn, also called Huck, made a somewhat surprising appearance. Although he did not act like himself during Frodo's stay at the Evenshire Camp, Huck Finn became himself again during the Evenshire Camp's Christmas in July Festival and after Frodo left the Evenshire Camp for the Merswold Camp. This music brought about Huck Finn's theme, which is how this piece entered the first playlist for The Dark Twilight.

"Battle of the Pics", from "George and the Dragon": For the end of Chapter Fifteen, with the tie breaker, archery challenge between Legolas Greenleaf and Annabeth, daughter of Athena, I figured there needed to be a piece that showed humor, but also battles or training. This composition fit well with Legolas and Annabeth's tie breaker challenge, where their live targets turned out to be Gurgi, Dicero the rhinoceros, and Amor the hedgehog. This instrumental piece was reprised during the baseball scene in Chapter Twenty-Nine.

"Queen Theme", from "Snow White and the Seven Dwarfs": This theme was heard in Chapter Sixteen for The Dark Twilight, but also represents the Evil Queen's theme. During Chapter Sixteen, the Evil Queen had an even more sinister plot to capture Frodo Baggins, which involved her poisoning mushrooms and disguising the poison that would make them appear edible to the hobbit.

"Anakin's Theme", from "Star Wars: Episode I – The Phantom Menace": Here is another theme for the heroes at the Evenshire Camp. This one represents Anakin Skywalker, the Jedi Knight who would eventually become Darth Vader. Still a Jedi when he entered the Evenshire Camp, after surviving and battling for three years during the Clone Wars in his galaxy, the Dark Side continued to cloud Anakin's mind, even as he stayed at the Evenshire Camp, and then afterwards when he accompanied Frodo Baggins on his journey to the Merswold Camp. Although Aslan never told Anakin the whole truth about Mother Nature or himself, he nonetheless knew Anakin's fate had already been decided, but would continue to grow stronger as Anakin journeyed with his eight companions towards Merswold.

"Over the Misty Mountains Cold", from "The Hobbit": In Chapter Seventeen, this song reminded Frodo and Gandalf the White of Middle-earth. This was sung by a group of dwarves at the Evenshire Camp, but years before it was sung by Thorin Oakenshield and his company of twelve Dwarves, when Bilbo Baggins – Frodo's uncle/cousin – would accompany Gandalf the Grey, eventually becoming Gandalf the White years later, and the Dwarves on a quest to the Lonely Mountain in the region Erebor.

"Celtic Monk", from "George and the Dragon": During the first section of Chapter Eighteen, Frodo spends his next four weeks at the Evenshire Camp, training amongst a small group of heroes, with Jack Sparrow eventually teaching Frodo how to swim. Since this piece fits in with the passing of time, it seemed necessary for me to add this music to the first playlist.

"Secret Garden", composed by Secret Garden: One of the first original compositions to enter this story, this music became the theme for the short sword named Seeker. The short sword, while in its broken state, had this music accompanied with it to represent the lonely days this sword had without a wielder to carry it when time became most precious.

"Lament for Gandalf", from "The Lord of the Rings: The Fellowship of the Ring": While this piece was not told to readers, this song nevertheless was brought up when the Elves at the Evenshire Camp sang it in the underground chambers. In a lot of ways, in Chapter Eighteen, Frodo must have been reminded once more of the events that took place in Middle-earth, as well as his experiences there with the loss of Gandalf at the Mines of Moria.

"Evenstar", from "The Lord of the Rings: The Two Towers": One of the peaceful moments in Part I, this music was brought into Chapter Nineteen, to show the acquaintanceship between Frodo Baggins and Danielle Barbarac. Not that there was any singular reason to add this theme to Chapter Nineteen, but this is the closest I can come to an explanation for why I decided to bring this music into the last chapter of The Dark Twilight's Part I.