Dinah, just about to head back to Central City (home of The Flash, dontchaknow), has a tender moment with her daughter. And Katie Cassidy, perhaps preparing for the last, best minutes of the episode, opens up the wordless moment for herself.
Thea and Roy reunite at the bar, both more damaged and closer together. They’re cute, but I can’t be the only one who hopes Thea is killed off in some byzantine plot that catalyzes Roy’s acceleration from hood to hero. What? There can be only one Speedy.
Oliver, once watching from the ledge above, heads outside and stares into the night, deflating like an Armani-scented balloon. Laurel, at that exact moment, pulls up in a cab. She stops him. They’re both shaken. His all-smiles mask slips on again, and then off. Would she ever consider having dinner with him, or coffee? She smiles. “Sure.” It is the most well-acted moment of the series so far, both more tender and vivid than Oliver and Laurel have had to be with one another before. They don’t just bounce — they spark.
Anyhow, in our last flashback of the evening we learn both that Fyers’ men successfully manipulated Oliver and Slade into exposing the circuit board (and thus stealing it away) and that their newest friend, Yao’s daughter, knows what Fyers’ plans are.
And for our final revelation of “Salvation,” Oliver and Felicity have a sweet moment to themselves — their OTP tag is so, “You can tell me” — before discovering that that cryptic map on the front flap of Oliver’s dad’s journal, and the cryptic things it represents, are connected to The Glades. Bum bum.
Nuzhat will be back next week, never fear, and you can find me recapping The Voice. Did you enjoy “Salvation” as much as I did? Fun fact: It was co-written by Drew Z. Greenberg, who wrote a nifty episode of Firefly back in the day. And whose growing relationship has grabbed you: Oliver/Laurel, Oliver/Felicity, Thea/Roy, Roy/Oliver, or all of the above? (Roy/Oliver or quit.)