Part 5/11:
He employs inner voice lines and suspensions that walk through a series of modal colors, shifting from E minor to E minor 11 and using flat nine (♭9) tones to evoke unease subtly. His use of passing tones and modal interchange—such as moving from Aeolian to Phrygian—keeps the music unpredictable and tense, perfectly fitting the film’s psychological thriller genre.