Since I forgot to mention this in the first bonus chapter, I will tell you the readers what these bonus chapters are meant to be told. You as readers can consider these reference guides, since within the paragraphs below and in the previous bonus chapter, told what chapter in the story corresponds to a particular music. With that said, I hope you enjoy reading this last bonus chapter.
Bonus Chapter Two:
Notes Clash
~ The Dark Twilight – Music Playlist Two (Part II) ~
"Attack", from "Pearl Harbor": With the coming of this music as The Dark Twilight's running track, already there is a sense that danger looms. This track also informs that heroes and villains have clashed, even before the attacks have been sound. Where this track can be heard first is in Chapter Twenty, when Maleficent tells the three battalions of scarred lions and lionesses to head into the Silent Forest to stop Frodo and his companions, before they reach the Merswold Camp. This track is heard second in Chapter Twenty-Eight, when Frodo and his companions first enter the village of Prevale.
"Alone in the Dark", composed by Vadim Kiselev: Just to be in the Silent Forest alone is quite disturbing. Within its surroundings, the trees and even nature gives an eerie yet sad pitch, bringing the forest's silence to a mysterious allure. This original composition happens to be an almost perfect match for the Silent Forest's theme. This piece can be heard in Chapter Twenty-One, as Frodo and his companions travel through the Silent Forest by day and by nightfall.
"Gurgi", from "The Black Cauldron": Mischievous, friendly, and cunning in his own way, Gurgi had already made a name for himself at his home world, Prydain. After joining Frodo and his companions in Chapter Twenty-One, from where this musical piece was first heard, Gurgi proved once again that bravery can come from even the smaller creatures, but also that height does not make any difference.
"Gator-Aid", from "The Swan Princess": Even though this story does mention alligators in the later chapters of Part II of The Dark Twilight, this composition was first heard in Chapter Twenty-Two, when Mumble assisted Puffin, Speed, and Jean-Bob escape from the Elusive Five Emperor Penguins, so the three animals could continue their journey to the Evenshire Camp and meet Aslan for the first time.
"Send Me (On My Way)", from "Ice Age": While not entirely considered theme music, but rather traveling music as the nine heroes traveled through the Silent Forest. For some duration of this song, Gurgi had a few tricks up his sleeve… or fur, pulling pranks on his fellow companions – however, some were not in the mood for pranks. This song could be heard in Chapter Twenty-Two, towards the last few sections of the chapter.
"Halo", from "Halo: Combat Evolved": This piece played during Amor's game night with Timon, Pumbaa, and the toy dinosaur named Rex, which occurred in Chapter Twenty-Three. The video game these four animals selected was, obviously, "Halo: Combat Evolved". The game night did not end well, with Reepicheep's arrival inside the game pavilion. This piece seemed like a good match to describe what level the four animals were on, while playing the game itself.
"Maleficent's Frustration", from "Sleeping Beauty": This is the closest I could come to finding Maleficent's theme for The Dark Twilight. In a way, this piece works for the villainess to show her frustration and the need to stop the heroes' hope for destroying all evil. This piece plays in the last section of Chapter Twenty-Three.
"Whispers in the Dark", composed by Yanni: Some would say Melissa Snowberry is an interesting, complex character. Others would right away say that she can act similar to Jack Sparrow, only because she plays both the hero and the villain, but this is only a rumor so to speak. This composition is Melissa's first theme music, which I found and put in my playlist.
"Happy Feet Two" Score Suite, composed by John Powell: The only reason I put this music suite on my playlist is to show Mumble reunited with his wife Gloria and their son Erik at the Terrabay Camp, in Chapter Twenty-Four.
"Khululwe Sithole Lea Halalela (Holy Land)", from "Rhythm of the Pridelands": Similar to Mumble reuniting with his family, I chose this piece as a way to show Kovu reunited with Kiara and their family and friends. This piece was heard shortly after the "Happy Feet Two" piece, in Chapter Twenty-Four.
"Neverwinter Nights" Main Theme: This being the second game mentioned only in The Dark Twilight, the piece that accompanied the beginning of Chapter Twenty-Five seemed an almost perfect match for the situation between Melissa, Amor, and the video game itself. Of course, in the end, these two were interrupted from their playing, if only for a short time.
"The Horned King Appears", from "The Black Cauldron": To bring up the next villain, who first appeared in The Dark Twilight in Chapter Twenty-Six, came around this music piece. The melodramatic tones, followed by the loud, three trumpet notes, immediately give writers and readers alike the sense that the Horned King is evil and is ready to strike.
"The Cheshire Cat", from "Alice in Wonderland": Even though he only makes a cameo appearance in The Dark Twilight, this feline has seen battles before on his home world of Underland. This theme for the Cheshire Cat played in Chapter Twenty-Seven, when Frodo was attempting to flee from his companions, but this failed when the Cheshire Cat spotted him and convinced him to regroup with his new friends.
"Minuet" String Quintet, composed by Luigi Boccherini: For this piece, at first I thought about Coral and Kovu and the tension they would have, while pretending that they liked each other as friends. Then this just came around as an opening piece for when Frodo entered the Mansion at the village of Prevale. This piece is heard in Chapter Twenty-Eight, and is the first piece played at the talking animals' dinner party.
"Cello Concerto in B Flat Major, Podhoransky", composed by Luigi Boccherini: Possibly the longest track played in my playlist thus far is this classical piece, composed by the same composer Luigi Boccherini. This piece was specific for the dinner party, and could have been used if there was more time and if Frodo Baggins had stayed at the Mansion a little while longer. Still, this piece helped me write the rest of the dinner party in Chapter Twenty-Eight, which was where this was first heard.
"Two Hornpipes", from "Pirates of the Caribbean: Dead Man's Chest": Sadly, the dinner party at the Mansion was cut short by Jack Sparrow and Captain Hector Barbossa arguing and fighting each other. This musical composition naturally played into this pirate fight scene in Chapter Twenty-Eight.
"Eternal Love", composed by blacksheep806: Towards the end of Chapter Twenty-Eight, Frodo has another strange dream about the same mysterious girl with the "brown hair and the hazel blue-green eyes". This instrumental piece nearly complements the allure of peacefulness that this dream brought, before it abruptly stopped, causing Frodo to awaken. This piece was also what I considered a theme for Frodo and the dream girl.
"Dwarven Tavern Music", from "World of Warcraft": One of two tracks that Melissa Snowberry listened to, while inside her tent. The reason only this piece and the other that follows are in this bonus chapter, let alone the story, is to show that Melissa was interested in playing "World of Warcraft", which – according to this series' timeline – would have come out in the sequel to The Dark Twilight. This piece was heard in Chapter Twenty-Nine, just before Meriadoc Brandybuck and his cousin Peregrin Took entered Melissa's tent.
"Elwynn Forest", from "World of Warcraft": The second track that was heard in Chapter Twenty-Nine in The Dark Twilight, which only brought about the conclusion that Melissa Snowberry was interested in the massive multiplayer online video game, titled "World of Warcraft".
"Farewell", from "The Hunger Games": To describe the bleakness and how many were in poverty in the village of Prevale, this piece soon became its theme music. From that suffering, even the talking animals would have to admit that this theme suited rightly to the devastation going on around their high-style life. This piece was heard in Chapter Thirty.
"In The Mood", composed by Glenn Miller: Not everything in Prevale was bleak, at least not at the talking animals' favorite café shop, called the Dragon's Café. In Chapter Thirty, this jazz music was the first to be heard inside the café, during which Frodo spoke with Jezebel, the chocolate snowflake hedgehog and, for some odd reason, Amor's "perky" girlfriend.
"Beyond the Sea", sung by Bobby Darin: There are different versions of this song, yet this was the version I chose as part of my playlist. This is the second song played in the Dragon's Café in Chapter Thirty, mere moments before Frodo leaves the café shop, after learning he was tricked by Jezebel into accompanying her, so she wouldn't have to spend her time at Prevale alone.
"Rue's Farewell", from "The Hunger Games": This piece was important in Chapter Thirty, for a possible number of reasons. The reason I selected this piece was to show a pivotal moment in The Dark Twilight, in which Frodo decides to leave the village of Prevale without his companions. After this turn of events, the rest of the story took form.
"The Grey Lady", from "Harry Potter and the Deathly Hallows – Part 2": Beginning with this piece at Chapter Thirty-Two, the Battle for Prevale went abrupt as orcs, goblins, and villains pillaged the village and attacked innocent civilians. All the while, Frodo became further separated from his companions, who were indeed searching for him.
"Sherlock Holmes" Opening Theme: This piece came from the 2009 film "Sherlock Holmes". In Chapter Thirty-Two, this is the second piece that continued the attack on Prevale. Except this piece was specifically selected to describe Frodo being chased and attacked by orcs along the streets of Prevale.
"Battlefield", from "Harry Potter and the Deathly Hallows – Part 2": In Chapter Thirty-Two, where this piece started right after the opening theme to "Sherlock Holmes, as Coral and her companions helped the citizens of Prevale leave the village, Harry and Edmund end up in a brawl against an orc leader and triumphed against him. Frodo, meanwhile, escaped about four blasts that ensued from the trebuchets firing outside the village. The orcs did not survive, but luckily for Frodo he did.
"Have A Bite", from "Snow White and the Seven Dwarfs": Disguised as Frodo's friend, Samwise Gamgee's fiancé Rosie Cotton – in The Dark Twilight, Rosie is considered this – the Evil Queen succeeded at getting Frodo to eat one of her poisoned mushrooms. This piece was heard playing in Chapter Thirty-Two.
"Courtyard Apocalypse", from "Harry Potter and the Deathly Hallows – Part 2": Frodo's companions, unable to find the hobbit Frodo Baggins, were forced to flee from the village of Prevale. In Chapter Twenty-Two, this piece describes, not only the devastation left behind from the fires that spread across the village, but also the civilians and the eight heroes need to escape the burning village with their lives.
"In Noctem", from "Harry Potter and the Half-Blood Prince": Unable to find solace without their hobbit companion, Coral and her companions journeyed from Prevale to the Merswold Camp, with the map the citizens of Prevale gave to them as their only guide in finding the villains' camp. This piece helped describe, in musical terms, this near-silent journey across the Harburg Plains to reach the Merswold Camp, which played in Chapter Thirty-Three.
"Strange Whispers" Extended, from "Kingdom Hearts": Inside the Merswold Camp's many underground caverns, tunnels, and chambers, the Evil Queen brings Frodo Baggins' unconscious body to Maleficent, who cackles at the sight of his lifeless form. In Chapter Thirty-Four, this piece seemed to suit the villains well.
"Forbidden Mountain", from "Sleeping Beauty": Although this wasn't in the playlist at first, this piece brought about the theme for the Merswold Camp, as it did for Maleficent's castle at the Forbidden Mountain. This piece coincidentally played anyway in Chapter Thirty-Four, as Coral and her companions reached the villains' campsite.
"Jack Sparrow in London", from "Pirates of the Caribbean: On Stranger Tides": As was pointed out in the first bonus chapter, Jack Sparrow's theme would be reprised whenever he said or did anything. In Chapter Thirty-Four, this piece reprised Jack Sparrow's theme when he created a diversion. In other words, made two guards argue constantly over who should have tidied up the Merswold Camp. This diversion caused Jack Sparrow and his companions to enter the villains' campsite, while this commotion drew some of the villains' minions to wonder what had caused the argument in the first place.
"Saving Buckbeak", from "Harry Potter and the Prisoner of Azkaban": Shortly after Jack Sparrow's diversion played out well, Coral and their companions snuck into the Merswold Camp. This piece accompanied that moment, only when the second half of the track began to play, in Chapter Thirty-Four.
"Duel of the Fates", from "Star Wars: Episode I – The Phantom Menace": Darth Maul, one of Darth Sidious' apprentices in the "Star Wars" galaxy. This piece is Darth Maul's theme, which also played in Chapter Thirty-Four and continued throughout Anakin Skywalker's duel against this Dark Jedi.
"Dive Into The Heart" Extended, from "Kingdom Hearts": At the first section of Chapter Thirty-Five, this piece played all the way through Frodo's lucid dream, which must have felt more real to him since the time he took a bite from one poisoned mushroom. This music ended shortly after Frodo reawakened, after he kissed the girl in his dreams, who seemed to be eighteen at the time.
"Destiny's Force", from "Kingdom Hearts": In Chapter Thirty-Five, after Frodo's reawakening, Frodo is met by the Evil Queen, who claimed herself as Queen Grimhilde. Inside the cavernous cell, the Evil Queen forced Frodo to duel her, in which Frodo barely escaped the battle with his life. At the end of the battle, Frodo closed the cell door, leaving the Evil Queen trapped and seeking revenged on the hobbit.
"Bob's Led", from "Happy Feet": This piece worked for Chapter Thirty-Five, especially during the time Mumble and Gurgi slid down the dark tunnels. Although Mumble thought this would be a faster way to find the villains and Frodo, Gurgi on the other hand thought against this idea. In the end, Mumble and Gurgi ended up splashing the surface of a large pool of water.
"Final Duel/Space Battle", from "Star Wars: Episode I – The Phantom Menace": Playing in Chapter Thirty-Five, this piece continued the fierce duel between Anakin Skywalker and Darth Maul, which occurred in the underground area, beneath the Merswold Camp.
"Walking Through", from "Ice Age": After recovering from their "slide", Gurgi ended up losing track of Mumble, by taking a "detour" to search for the fluffy Emperor Penguin. I selected this piece in Chapter Thirty-Five purely for that same reason as the track is called, since Gurgi really was walking through a maze of tunnels and stone corridors, just to search for his friend(s).
"Theme from Jurassic Park", composed by John Williams: While inside the room of stone creatures and animals, Gurgi spotted a few marvels that terrified and kept him awed. This particular composition was specifically suited for the dinosaurs in that room, that were turned to stone by Jadis, the White Witch, in case any readers were curious as to who it was that did this to all the animals and creatures there, beneath the Merswold Camp. This piece was heard playing in Chapter Thirty-Five, as the previous tracks also played in the story.
"Rakata Ancient Ruins", from "Star Wars: Knights of the Old Republic": To bring about a sense of wonder, at the same time notice a dead presence in the underground catacomb-like chamber, as Coral and Kovu walked across the room, this piece served as the underground catacomb's theme music in Chapter Thirty-Five. Of course, Gurgi did eventually meet up with Coral and Kovu, in spite of Coral's annoyance towards the furry grey-and-white creature.
"Night of Fate", from "Kingdom Hearts": In Chapter Thirty-Five, this piece played during Coral's fight against her elder sister, Lara-Belle, who was also a scarred lioness. However, before the fight began, Coral instructed Kovu to watch Gurgi, but also to find their friends, who were wandering and were probably lost inside the underground tunnel network, beneath the Merswold Camp.
"The Reveal", from "Red Riding Hood": Just as the readers returned to Frodo Baggins, who had learned of the Evil Queen's escape from the cell, this piece from the 2011 film version of "Red Riding Hood" played upon this reveal and also during Frodo's attempted escape from the villains' underground tunnel network, which eventually failed upon him being spotted by the Evil Queen. This piece was heard in Chapter Thirty-Five, during these events that occurred towards the last few sections of the chapter.
"The Queen's Curse", from "Once Upon A Time": To bring about Sauron's return, in music form, this piece came around Chapter Thirty-Five, towards the end of the chapter itself. The situation wasn't exactly good for Frodo, who was wounded by Maleficent, before she could bring Sauron back, by means of the Black Cauldron.
"Mordor" Sauron's Theme, from "The Lord of the Rings": At Chapter Thirty-Six, this theme music helped readers understand Sauron better and who he was as a villain, which was not a good sign for Frodo, who unfortunately was in the same chamber at the time of this Dark Lord's reawakening.
"Jack Sparrow's Drunken Theme", from "Pirates of the Caribbean: Dead Man's Chest": This reprise, brought about in Chapter Thirty-Six, only entered the chapter, due to Jack Sparrow finally finding some rum and ale inside an enclosed tent at the Merswold Camp. His moment was interrupted when Harry Potter and Edmund Pevensie entered the tent to see what he was doing, and whether or not he chose to help his friends out or stick to drinking rum.
"Fun Food Storm", from "Happy Feet": In Chapter Thirty-Six, this piece was heard as Mumble traveled alone through the winding underground tunnels and hallways. Eventually, he found himself inside a stone hall, where he met the Elusive Five Emperor Penguins yet again.
"The Tide Turns/The Death of Darth Maul", from "Star Wars: Episode I – The Phantom Menace": The title of the piece explains what happened in the section of Chapter Thirty-Six, towards the end of the duel between Anakin Skywalker and Darth Maul. It seemed Darth Sidious' plan to bring Darth Maul back had failed, but this must not have stopped Darth Sidious from devising a new plan, one that would involve getting Anakin to join the Dark Side of the Force, back at his galaxy.
"Godric's Hollow Graveyard", from "Harry Potter and the Deathly Hallows – Part 1": Towards the last section of Chapter Thirty-Six, when Harry and Edmund found Coral lying unconscious on the stone floor, they also found a tombstone with her parents' names engraved on the front. This piece brought about the tone that was needed for this part, especially since this moment seemed emotional.
"Sacrament of Tears", composed by Adrian von Ziegler: The Dark Creatures were sinister indeed, always searching for something to eat, to ease their pain and suffering. This piece, while playing in Chapter Thirty-Seven, represented these creatures' dark and menacing theme, which was needed in order to also show their strange, yet wicked powers that they had over their next victims. This piece also serves as their theme music.
"Aboard the Star Forge", from "Star Wars: Knights of the Old Republic": In Chapter Thirty-Seven, this piece is the theme music for the darker underground tunnels in the tunnel network. As Frodo attempted to avoid being spotted by Sauron, who searched for him, Frodo meanwhile searched for a way back to the surface, but even that proved not an easy task to complete.
"Destiny's Force", from "Kingdom Hearts": By the last section of Chapter Thirty-Seven, after Frodo reawakened from another dream involving the same girl, Frodo was forced to fight Sauron, which he knew he would lose. This piece told musically what would have happened if Sauron and Frodo were indeed battling against each other, which obviously did not happen inside the chamber, underneath the Merswold Camp.
"Peragus Battle", from "Star Wars: Knights of the Old Republic II – The Sith Lords": This piece represents the battles that Anakin Skywalker had to face in Chapter Thirty-Eight against a few Dark Jedi, moments before he could unlock and open the sliding doors that would lead out into the Merswold Camp's hangar bay.
"Peragus Mining Facility", from "Star Wars: Knights of the Old Republic II – The Sith Lords": After winning the battles against the Dark Jedi, in Chapter Thirty-Eight, Anakin Skywalker entered the hangar bay to pick out the fastest starship that would fly him out of the Merswold Camp and the limbo world, bringing him back to his galaxy. This piece accompanied that dark surreal feel that was brought about during Anakin's exploration.
"Into Darkness", from "The Elder Scrolls V: Skyrim": This piece was played in Chapter Thirty-Eight, during Coral, Edmund, and Frodo's flight through the underground tunnel network of the Merswold Camp. When the three companions stop to talk about Frodo's now-shattered sword named Sting, Frodo explained to his two companions what happened to the sword.
"Scorponok", from "Transformers": This theme music occurred in Chapter Thirty-Eight, during the battles that took place between Harry, Jack Sparrow, and the scarred lions and lionesses' battalion. This piece also occurred in the same chapter, when Kovu fought against the battalion of scarred lions and lionesses. Readers can also play this piece during the time that Coral, Edmund, and Frodo were fleeing from the avalanche. In all, this piece is heard throughout Chapter Thirty-Eight of The Dark Twilight.
"Night of Fate" Extended, from "Kingdom Hearts": The reason I put this piece first, before the "Wheel of Fortune" piece, which is right below this one, is because of the way the events turned out in Chapter Thirty-Nine. This order is a lot better to listen to, especially since this piece helps to clarify what happened during Frodo's escape from the Merswold Camp, as well as what led up to him pulling the lever that brought the stars shooting back in the night sky, returning to their proper positions from where they left.
"Wheel of Fortune", from "Pirates of the Caribbean: Dead Man's Chest": This piece played in Chapter Thirty-Nine, in the sections involving Coral and her seven companions. This track music did not play again in the story until after Rumpelstiltskin's disappearance, when Coral and her companions escaped from the Merswold Camp for good.
"The All Spark", from "Transformers": This piece played in Chapter Thirty-Nine, right as the shooting stars returned to the night sky and during the time Frodo left the last ante-chamber, by means of the dark tunnel that exited out onto the surface of the limbo world.
"Endless Night", from "The Lion King" on Broadway: Towards the last few sections of the Epilogue, in The Dark Twilight's story, this piece clarified to readers Simba still had doubts about Aslan and how he knew his father, Mufasa, the former Lion King of the Pridelands.
o-o-o
~ The Dark Twilight – Music Playlist Two (The Credits) ~
"The Prodigal Returns", composed by KPM Music: If there were any credits after The Dark Twilight, this would be – what I think of – the first track after the story has been completed. The reason I have put this epic dramatic music into the playlist is to basically tell the readers that Frodo Baggins has returned for another journey. However, this journey may be a long one, possibly longer than his quest to Mordor, to destroy the One Ring.
"A Hobbit's Understanding", from "The Lord of the Rings": Following the first track in the "possible credits" music would have been this composition. Since I could not find any particular place where Frodo's theme music could fit, I decided to put it at the end, after the main story was finished. Turns out, this was a good spot to put the theme, which describes Frodo and his journey almost all too well.
"Hikari", from "Kingdom Hearts": This last composition is at the end of this playlist for a reason. In a way, when I first began to develop The Dark Twilight and figure out there would be more stories to come, the "Kingdom Hearts" games were the first ones to bring about this idea. The rest fell into place afterwards. This particular piece allows readers to know that this is indeed an epic multiple crossover fan fiction story, which it has been rightly proclaimed.
With these playlists now complete, this concludes The Dark Twilight. I hope to hear from you, the readers, as you review my other stories. I'll see you, the readers, once more in The Emerald Diadem.
-Aria Breuer
