This was some kind of a score; what does it matter what Jon and Andy say about it? In Henry Mancini’s score for Orson Welles’ 1958 film noir Touch of Evil, how does the music that’s playing in the next room cast a menacing pall? Why do we get to hear two different musical approaches to the film’s famous opening shot? And, what odd jobs did Welles scrounge up on the side while he was making this movie?