Not bad...

- There\'s a recurring cello-and-percussion(-and if played long enough: woodwinds, an electric organ?) music bed in this, first heard at the 8:09 mark and always when Dryden\'s character is thinking, that\'s well done in that it conveys multiple moods - first sadness and reflection on the past (the cellos) then a slight, unnerving hint of mystery (the percussive tones made by a slowly-pounded xylophone-like instrument) then an element of expectation, good or bad, for the future (when the woodwinds and/or keyboard begin to play).

A few other music beds were like this when they were allowed to play for a longer amount of time than 5 seconds...it would be interesting to have heard the full compositions for many of the CBS/CBS RMT fine background music tracks.

- I didn\'t quite get the connection...Dryden\'s character\'s son is so godly (or at least spiritual) at show\'s beginning but in the third act he\'s portrayed as callous and hard. Did I miss Dryden speaking about his son\'s conversion and what triggered it?

- Most importantly, this was an interesting recurring theme at the RMT - mercy with justice, mercy with justice.

One could argue that it was shown to a degree on an RMT episode earlier in the summer: \"The ghosts of yesterday\" - Teri Keane played an individual who\'d certainly been through intense hardship and seen her and/or her family\'s earthly lives ruined by another, only to finally confront that \"other\" in a situation where she could bring life (and mercy) or death.

However, I can\'t recall that she ever vowed to kill her tormentor as Dryden\'s character did - with that in mind I\'d recommend to my RMT friends two other episodes with the same \"Blood Red Roses\" theme:

1. \"Killer\'s Appointment\", with Marian Seldes (and I think William Redfield), and;

2. \"The only blood\", Jack Grimes and others. This latter show may be my all-time \"morality without the supernatural\" tale on the RMT. <br>