The dark Titus motif is heard in the low register as they talk about Titus; the cue grows and grows to a dramatic climax, adding instruments and slightly accelerating to a grand pause as Field says to Lane "You're really in love, with Dan, aren't you"
Field and Lane talk about Titus and Dan
[m. 17] mf / a tempo; [m. 20] f / f / col; [m. 21] from Reel 4 Pt 2; [m. 26] gliss / out this time; [m. 28] accellerando / gliss / simile; [m. 29] ff / ff / sfz; [m. 30] molto rit / sordini
[m. 17] He sits; [m. 30] She looks
[m. 17] piano + harp soli (let them ring) / trbs (felts) / basses / b'ssn; [m. 19] horns a2 / trbs; [m. 29] timp
This is a dramatic embellishment of the Ostinato variant, with added flourishes and additional melodic sequences at the end