A peek into the head of composer Adam Peters. This mix features many of the songs that are currently on repeat in Adam’s studio, ranging from the Beatles to Igor Stravinsky.

1. I Break Horses – Winter Beats (Buy)
2. The Triffids – Wide Open Road (Buy)
3. Family of God – Tynynynyny Raindrops  (More Info)
4. Amede Ardoin & Dennis McGhee – Two Step De Mama (Buy)
5. Johann Sebastian Bach – The Well Tempered Clavier Book 1(Buy)
6. Igor Stravinsky – Symphony of Psalms Part I (Buy)
7. The Doors – Summers Almost Gone (Buy)
8. Royal Greek Festival Company – Stelista (Buy)
9. The Beatles – Rock and Roll Music (Buy)
10. Mozart – Requiem In D Minor (Buy)
11. Elmer Bernstein – Main Title (To Kill A Mockingbird) (Buy)
12. Hans Zimmer – Journey To The Line (Buy)
13. Nick Cave & The Bad Seeds – Henry Lee (live) (Buy)
14. Délibáb & Éva Fábián – Greben Egyuttes  (Buy)
15. Rodrigo y Gabriela – Foc (Buy)
16. Israel “Cachao” Lopez – Estudio En Trompeta (Buy)
17. Angel Romero, San Antonio Symphony Orchestra, & Victor Alessandro – Concierto de Aranjuez for Guitar and Orchestra II. Adagio (Buy)
18. Ennio Morricone – As A Judgement (Buy)

Am I Glad To See You (Outtake)

Stroll On

Piano Trio in E flat Major, Op. 100 (2nd movement)

Introduzione

Heirate Mich (Edit)Tema Della Strada

Nuit Sur Les Champs-Élysées (Take 1)

Eternity’s Sunrise

Jamais Je Ne T’Ai Dit Que Je T’Aimerai Toujours

Siciliana – Sonata BWV 1031 2nd Movement

Bring Down the Birds

Main titles-Toby Dammin Theme

Un Homme et Une Femme

Two Mules For Sister Sara – Main Title

I’m Deranged (Edit)

D’abord Dis-Moi Ton Nom

Colloquy

Sarabande End Title

Wakey Wakey

Tema Della Strada

Martha, will you show her where we keep the…euphemism?

MARTHA
(turning)
What? Oh?
(to Honey)
Sure! I’m sorry. C’mon. I want to show you the house.

HONEY
(to Nick)
We’ll be back, dear.

MARTHA
Honestly, George, you burn me up!

GEORGE
(delighted with the thought)
All right.

MARTHA
You really do, George.

GEORGE
Okay, Martha…Okay. Just…trot along.

MARTHA
You really do.

GEORGE
Just don’t shoot your mouth off…about…you-know-what.

MARTHA
(surprisingly vehement)

I’ll talk about any goddam thing I want to!

GEORGE
Okay. Okay. Vanish.

MARTHA
Any goddamn thing I want to!

GEORGE
VANISH!

MARTHA
(practically dragging Honey out with her)

C’mon…

Deanie steps out of the tub and moves to her Mother.

MRS. LOOMIS
Deanie. Stop that. Stop….

DEANIE
(Shouting at her mother)
I’ve been a good little girl, good little girl. A good little, good little girl. I’ve always done everything Daddy and Mama told me. I’ve obeyed every word. I hate you…I hate you. I hate you….

MARTHA
Okay, stuff, let’s go.

Nick glances at George, then approaches Martha on the dance floor.

MARTHA
Hi.

NICK
Hi.

RICK
I don’t have to. I got ‘em right here.
(reaching into his inner pocket)
He has the Letters in his hand.

ILSA
Put them on the table.

RICK
(Shaking his head)
No.

ILSA
For the last time, put them on the table.

RICK
If Laszlo and the Cause mean so much to you, you won’t stop at anything. All right, I’ll make it easier for you, go ahead, shoot. You’ll be doing me a favor.

Close Shot- ILSA
She rises, still pointing the gun at Rick. Her finger rests on the trigger. It seems as if she is summoning nerve to press it. Then, suddenly, her hand trembles and the pistol falls to the table. She breaks up, covering her face with her hands. Rick walks into the SHOT stands close to her. Suddenly, she flings herself into his arms.

ILSA
(almost hysterical)
Richard, I tried to stay away. I thought I would never see you again…that you were out of my life. The day you left Paris, if you knew what I went through! If you knew how much I loved you…how much I still love you–

Her words are smothered as he presses her tight to him, kisses her passionately. She is lost in his embrace.

FADE OUT

ARLETTA
Helen, she sent along your things with a note, and John here, he wrote to the police.

LUKE
Yeah. Well.
(to Godfrey)
Getting’ up here, Boss.

Godfrey just looks at him, says nothing.

LUKE
Well, Arletta, I got to stand down here.

ARLETTA
I allus hoped to see you well fixed and have me a crop of grandkids to kiss and fuss around with.

LUKE
Like to oblige you, Arletta, but right off I don’t know where to put my hands on ‘em.

ARLETTA
Sometimes I wisht people was like dogs, Luke. Comes a time, a day like, when the bitch just don’t recognize her pups no more, so she don’t have no hopes nor love to bring her pain. She just don’t give a damn. They let you smoke?

LUKE
Smokin’ it up here, Boss.

DEANIE
I don’t know. He’s a totally different person to me now.

JUNE
How do you mean?

DEANIE
I’d always worshipped Bud like he was a God. But all this time he’s been a man, hasn’t he? Like other men all over the world, trying to get along.

ILSA
It’s been a long time.

SAM
Yes, Miss Ilsa. A lot of water under the bridge.

He sits down and is ready to play.

Ilsa
Some of the old songs, Sam.

SAM
Yes, ma’am

Sam begins to play a number. He is nervous, waiting for anything. But even so, when it comes he gives a little start…

ILSA
Where’s Rick?

SAM
(evading)
I don’t know. Ain’t seen him all night.

Ilsa gives him a tolerant smile. Sam looks very uncomfortable.

ILSA
When will he be back?

SAM
Not tonight no more. He ain’t coming. He went home.

ILSA
Does he always leave so early?

SAM
He never — I mean –
(desperately)
He’s got a girl up at the Blue Parrott — he goes there all the time…

ILSA
Sam, you used to be a much better liar.

MARTHA
He warns you…don’t encourage me.

NICK
I heard him… tell me more.

Martha
(consciously making rhymed speech, in time to the music)
Well, Georgie-boy had lots of big ambitions. In spite of something funny in his past…

GEORGE
(quietly warning)
Martha…

MARTHA
Which Georgie-boy here turned into a novel…
His first attempt and also his last…
Hey! I rhymed! I rhymed!

GEORGE
I warn you, Martha.

NICK
Yeah…you rhymed. Go on, go on.

MARTHA
But Daddy took a look at Georgie’s novel…

GEORGE
You’re looking for a punch in the mouth… You know that Martha.

MARTHA
Do tell!…and he was very shocked by what he read.

NICK
Was he?

MARTHA
Yes…he was…A novel all about a naughty boy-child…

GEORGE
(rising to his feet)
I will not tolerate this!

NICK
(offhand, to George)
Oh, can it.

George rushes toward the juke box.

MARTHA
…ha, ha!
naughty boy child
who…uh…who killed his mother and his father dead.

GEORGE
STOP IT, MARTHA!

You will not say this!

NICK
(sensing the danger)
Hey.

MARTHA
The hell I won’t. You keep away from me, you bastard!
(backs off a little… uses George’s voice again)
No, sir, this isn’t a novel at all… this is the truth… this really happened… TO ME!

Baby, you sure are a flop.

She starts through the library to the kitchen to get ice from the refrigerator.

NICK
(snapping it out as he follows her)
Everybody’s a flop to you! Your husband’s a flop, I’m a flop–!

MARTHA
You’re all flops. I am the Earth Mother, and you’re all flops.
(more or less to herself)
I disgust me…
(a pause)
There is only one man in my whole life who has ever…made me happy. Do you know that? One!

INT. KITCHEN

NICK
What? the gym instructor, or something?

MARTHA
No, no, no, no…
(shakes her head)
George.
(no response from Nick)
My husband.

CHRIS (thickly)
Walker!… You can’t be…

WALKER
Where’s Reese?

Chris turns on her back, opens her eyes still heavy with a sleep.

CHRIS
You’re supposed to be dead…
Lynne said so…

WALKER (gratingly)
She’s dead.

CHRIS (questioningly)
Dead!… You?

WALKER
No…her…those.

He points to a bottle of sleeping pills on a nearby table.

CHRIS
I… I… I’m not sleeping.

WALKER (grimly)
She is.

Chris settles herself more comfortably. Her face, though still suffused with a sleep, is open and warm: the line of her body beneath the nightgown has sensuality.

WALKER
I heard you’re with Reese?

CHRIS
You heard wrong…

WALKER
Is he after you?

CHRIS
All the time…

WALKER
Do you want him?

CHRIS
He makes my flesh crawl.

WALKER
I want him.

CHRIS
You were always the best thing about Lynne.

If there were any justice, they would have us shot, people like you and me. They ought to put us out of our misery.

WALKER
I won’t tell anyone if you won’t.

CHRIS (incredulously)
Your money… You made me go to him just to get your money?

WALKER
He’s splattered all over the sidewalk. What do you want me to do?

Chris’s outburst has left her limp.

CHRIS (flatly)
You made a big mistake, Walker…
You owed it to yourself – and to Lyne – and to me. You should have killed him. You cheated all of us.

Walker stands motionless in the middle of the room. He wrestles to hold down his mixed rising emotions.

WALKER (thickly)
Just my money..that’s what’s left.

He goes to the phone and searches for a number in the telephone book, riffling the pages with unnecessary violence.

CHRIS
You’d better hold on to it. It’s all you’ve got. You know something? You’re dead! You died at Alcatraz, after all.

CHRIS (sleepily)
Don’t go, Walker.

Walker is rapidly dressing. There is a great tenderness between them.

WALKER (ironically)
You know.

CHRIS (smiles)
I know.

Walker
I’ve been this route before.

CHRIS (grimly)
Not only you.

WALKER
Reese, too.

CHRIS (quietly)
Maybe you just broke the pattern.

She lies languidly in the bed. He stands over her.

WALKER
You think so? Doesn’t this remind you of anything?

He picks up his gun format he bedside and puts it in his pocket. It is a replica of their first meeting in Chris’s house.

CHRIS (smiles)
You’re right. This is how you found me – in bed.

She watches his every movement as he dresses.

CHRIS (softly)
Is it full circle?

WALKER
I can only see around the next curve.

It is a declaration of love.

CHRIS
That’s more than most people can see.

Sugar, you know how I feel about you, don’t you. I’m just trying’ to get you to take an interest in my kind a things, an’ what I’m trying to do with myself…
(bringing her face close to his)
You know, there id’n anything in the world I wouldn’t do for you, baby. I started liven’ the day I found you, you know that?

ARLETTA
Oh, I had me some high old times. Yore old man, Luke, wasn’t much for stickin’ around, but damn it he made me laugh.

LUKE
Yeah, would of been nice to of knowed him, the way you talk about him.

She’s looking at him and begins to laugh, losing control and coughing to the point it alarms John and Jackson and they have to help her. She pays no attention to the cough.

LUKE
He’d… He’d of… broke you up.

She quiets after the fit and lies back, tired.

ARLETTA
You think life is some kind of ocean voyage and you start out with bunting’ and hollering’ and high hopes, but the damn ship goes down before you ever reach the other side. Luke?

LUKE
Here, Mom.

ARLETTA
What went wrong?

LUKE
Nothin’. Ever’thing’s cool’s can be.

ARLETTA
No.

LUKE
Tried to live always just as free and aboveboard as you been, and well, they ain’t that much elbow room.

I’ll go out wit you, or I’ll stay here, and do anything you’d like for me to do… if you’ll just do one thing. If you’ll tell me that you love me.

RAYETTE
Don’t call me “mack,” honey.

RAYETTE
“But don’t love me/Then act as though we’ve never kissed/Oh, don’t touch me…”

She leans closer and kisses him, then bringing her lips close to his ear:

RAYETTE (cont’d)
“Don’t touch me…”

She kisses him again.

RAYETTE (cont’d)
“Don’t touch me…”

And again.

RAYETTE (cont’d)
“Don’t touch me…”

Her kisses become more reverent and insistent.

RAYETTE (cont’d)
“Oh, don’t touch…”

He suddenly pushes her away.

BOBBY
Cut it out!

Grievously hurt by his gesture and expressive of an anger she’s heretofore been afraid to reveal:

RAYETTE
Son of a bitch, Bobby! You quit pushin’ me away like that! I’ve had enough a that to last me a lifetime!

She makes a fist of her hand as though she were about to hit him, then changes her mind.

RAYETTE (cont’d)
Whyn’t you just try an’ be good to me for a change!?

There is no response. She turns away from him, looking out through the windshield for a moment, then:

RAYETTE (cont’d)
There id’n anyone gonna look after an’ love you better’n I do, you know that.

*MIXTAPE from Adam Peters

*BEHIND Adam Peters mixtape

*INTERVIEW with guest editor