Arrow (2012–…): Season 1, Episode 5 - Damaged - full transcript
Oliver is accused of being the hooded archer and is put under house arrest. Also, he thinks back to his time on the island, where he first met Edward Fyers and Deathstroke.
OLIVER:
My name is Oliver Queen.
For five years, l was stranded
on an island with only one goal:
Survive.
Oliver Queen is alive.
OLIVER:
Now l will fulfill my father's dying wish:
To use the list of names he left me and bring
down those who are poisoning my city.
To do this, l must become someone else.
l must become something else.
ANNOUNCER:
Previously on Arrow:
I want you to find out
aII you can about that notebook.
I'II be driving your mother around.
She's not a suspect.
Something's going on in this city.
You know it.
WaIter, pIease.
You've got to stop Iooking into this,
it's not safe.
Accidents tend to befaII peopIe
who are too curious.
-It's done.
-And he won't be harmed?
Nor wiII he discover your invoIvement.
You have my word.
TOMMY: I'm not ready for the commitment
you're Iooking for.
-You can't be serious.
-This is me serious, LaureI.
BACKMAN:
CaII Cayman FideIity.
TeII them their favorite accountant
is fIying in...
...to make a speciaI deposit
for a speciaI cIient.
[ELEVATOR DINGS
THEN DOOR OPENS]
That eIevator's supposed to be on a key.
Go check it out.
[MAN GRUNTS]
HaroId Backman.
You have faiIed this city.
I'm onIy an accountant. I'm just the money.
Money that Ieads to extortion,
kidnapping and drugs.
It's the destruction of innocent Iives!
You think you scare me
more than the peopIe I work for?
No.
They can deaI with you.
Hmm. Let me guess. Some bad guy
missing his fancy new Iaptop?
HaroId Backman.
He's who StarIing City's worst caII
when they want to Iaunder money.
Then shouIdn't we just turn this over to,
I don't know, the IRS?
We wiII. Just as soon as you return
the money to the rightfuI owners.
Sounds Iike a nice idea, but Backman's fiIes
are protected with an encryption aIgorithm.
-ReaIIy?
-Yeah.
-So it's gonna take a whiIe to break in.
-Days, at Ieast.
Better get started, then.
At the risk of ending up
with an arrow in my eye, can I ask...
-...when are you making peace with DiggIe?
-He's the one who Ieft, FeIicity.
-I did everything I couId to stop him.
-Except apoIogize.
You promised you'd heIp track FIoyd
and you--
Made a choice that I can Iive with.
-If he can't, then I don't need him.
-OIiver--
I need to get back to the cIub.
Let me know when you break in.
I wish someone wouId send me off
to the Caymans.
Yes, I know it's been six months, but--
I am very weII aware of the statistics...
...but I haven't given up hope
and neither shouId you.
THEA:
That didn't sound too good.
Oh, it's fine.
Who were you taIking to?
Just the insurance company.
They insist on paying out
WaIter's Iife insurance poIicy.
I know we haven't taIked about WaIter
in a whiIe, but I miss him too.
It's Iike Iosing Dad aII over again.
MALCOLM: You Iook radiant.
-FIatterer.
I think you're the Iast to arrive.
-How's Tommy?
-Tommy is Tommy.
-How's OIiver?
-StiII in bed. It's onIy noon.
[BOTH CHUCKLE]
MOIRA: WeII, Iook who I just found.
-Heh-heh.
Get Iost trying to find the house?
You say that as if your driveway's
not Ionger than most roads.
-Can I get anyone anything eIse?
ROBERT: We're fine.
[DOORBELL RINGS]
Oh. Excuse me.
HeIIo, Mrs. Queen.
I'm sorry to bother you at home.
Oh, no, no, no. Don't be siIIy, WaIter.
Come in, pIease.
You're here to see Robert?
Yes, just some papers
he needs to sign for the stock offering.
He's in some private meeting right now,
but you're weIcome to wait.
-Thank you.
-UnIess you'd Iike to heIp me...
...get my chiIdren out of the house.
-You don't have chiIdren do you, WaIter?
-Not yet, I'm afraid.
WeII, save yourseIf the troubIe and don't.
They eventuaIIy aII turn into teenagers.
FRANK: Adam Hunt was reIuctant at first,
but was more cooperative...
...upon being informed
we knew about his embezzIement.
The poIice's communications system
couId use an upgrade.
I think Mr. Hunt can be persuaded
to make an anonymous donation.
WeII, that wiII certainIy cure
what aiIs this city.
What's that, MaIcoIm?
We're emptying the AtIantic
with a tabIespoon.
For years, we've been forcing
the city's worst to do what is best...
...Ieverage them to heIp us save this city.
But it's not working.
Crime in the GIades is rising.
The cancer is spreading.
-We just need to take some more time--
MALCOLM: Did Rebecca get more time?
Did the man who raped Frank's daughter
give her any quarter?
Everyone in this room has Iost something
or someone to the GIades.
And we have committed ourseIves
to fixing it...
...but what have we truIy accompIished?
Nothing. And maybe it's because
the GIades can't be fixed.
You're saying we shouId
abandon the project.
MALCOLM:
Yes.
In favor of a new undertaking.
Like Ben Tre in Vietnam.
The viIIage must be destroyed
before it can be saved.
Are you suggesting
we somehow IeveI the GIades?
Down to the bedrock.
OnIy then can we truIy rebuiId StarIing City
and make it safer for everyone.
That's 24 square bIocks.
And if we did,
and I'm not saying we shouId...
...if we did, wouIdn't suspicion faII on us?
Not if the destruction appears to be
caused by a naturaI disaster.
You've aIways had something
of a God compIex, MaIcoIm...
...it's part of your charm.
But even you can't create a naturaI disaster.
Have you ever heard of Unidac Industries?
It's a smaII company. They have an idea.
An idea that wiII serve our purposes.
My sources teII me
they're five years away from prototype...
...and any undertaking of vaIue
is worthy of patience.
-And restraint.
-One man aIone can't save this city, Robert.
We both know that.
[DOOR OPENS]
''Of aII the gin joints in aII the towns
in aII the worId, she waIks into mine.''
This coffee is terribIe, OIiver.
That's what you get
for ordering coffee at a bar.
You Iook tired.
Too much work?
Too much crying.
Tommy broke up with me.
-What happened?
-I have no idea.
Things were good, they were great.
And then, suddenIy, he's packing up
his things and teIIing me that it's over.
Did he say anything to you?
No. Tommy and I haven't taIked
very much since he quit.
But he'II come around.
It's probabIy just coId feet.
Like it was with you?
OIiver, you don't sIeep
with your girIfriend's sister...
...unIess you're Iooking
to bIow the reIationship up.
If you stiII want to be with Tommy...
...do what we shouId've done.
TaIk to each other. And be honest.
[DOOR OPENS]
FELICITY:
OIiver, I need to show you what--
I just totaIIy waIked in on a thing, didn't I?
I'm sorry, uh, who are you?
Nobody. I mean, I'm not nobody.
I'm someone, obviousIy.
And so are you. You're LaureI, right?
That LaureI. Gorgeous LaureI.
This is FeIicity.
She's setting up my Internet.
Router. And I need to show OIiver
something very important reIated to it.
I'II Iet you go, then.
Thank you for the coffee.
And the advice.
[SIGHS]
-TeII me you got in.
-Better.
I hacked Cayman FideIity and put together a
Iist of aII the deposits Backman made.
What good does that do us?
Look at the biggest deposit Iast year.
Bottom of the page.
''Two miIIion doIIars on Decem--''
December 12th.
-That's--
-The day WaIter disappeared.
What if one of Backman's cIients
was paid 2 miIIion to kidnap WaIter?
Then we find out which cIient it was...
...and use them to find WaIter.
Okay, back trace the account.
FoIIow the money.
HopefuIIy, it wiII Iead us
to whoever kidnapped WaIter.
After aII this time, do you think
WaIter might stiII be aIive?
I don't know.
Got it. Dominic AIonzo.
-Ugh.
-Name ring any beIIs?
Yeah. AIonzo runs the biggest
underground casino in StarIing City...
...when he's not busy kidnapping.
He Iooks Iike the kind of IowIife
someone wouId hire to kidnap WaIter.
How many arrows you think you'II put
in him before he gives WaIter's Iocation?
-Say ''a Iot.''
-It's not that simpIe.
That casino has its own army.
We need to access AIonzo's computer
but without setting off any aIarms.
Looks Iike we're gonna need
aII the heIp we can get.
It's too bad there's not someone
we couId caII.
That's enough. We can do this on our own.
WeII, then, it Iooks Iike someone's
going gambIing tonight.
Those guys wouId make me
the minute I waIked in.
OIiver Queen wouId never be
in a pIace Iike that.
I wasn't taIking about you.
-AbsoIuteIy not.
-I can count cards.
It's aII probabiIity theory and mathematics.
Have you met me? Bottom Iine,
I know my way around a casino.
-FeIicity--
-OIiver, the reason I joined you...
...in the first pIace was to find WaIter.
For the first time,
we have a reaI chance at finding him.
You have to Iet me do this.
AII right.
But we do it my way.
Come on.
I'm sorry to puII you away
from whomever you were meeting.
Oh, it's nothing.
Everyone's Ieft aIready.
Besides, it's my fauIt for forgetting
to sign the K-Fives this morning.
I hope you don't mind me asking,
is everything aII right?
Just, uh, taking care of some odds and ends.
-WeII, if ever you need a friendIy ear.
-You're a good man, WaIter.
I thought you'd Ieft.
-I'm stiII waiting for your answer.
-How can you even think of doing this?
-That pIace took your souI, Robert.
-And doing this...
...won't give it back.
Won't bring back Rebecca, either.
It stiII feeIs Iike yesterday, that day.
When she caIIed my ceII phone for the
first time, I remember being annoyed.
She knew I was busy, so I just Iet it ring.
When she caIIed back a minute Iater...
...I shut my phone off.
A IittIe after midnight, two S.C.P.D.
officers showed up at my office.
AII I remember them saying was...
...she'd been shot.
Murdered. In the GIades.
After the cops Ieft...
...I sat in my office the rest of the night,
Iistening to Rebecca's messages.
She kept caIIing my name.
Asking for heIp.
UntiI she was just struggIing
just to breathe.
Gasping for air.
I Iistened to my wife die
over and over and over again.
-I can't imagine, MaIcoIm.
-Try.
Imagine it was Moira Iying on
that pavement, bIeeding, caIIing your name.
And then teII me you wouIdn't be prepared
to do what I am.
[SIGHS]
What do you want?
Is that any way to treat a girI who
just waIked up six fIights of stairs?
No, it's not. Where are my manners?
Come on in.
Thank you.
WeIcome.
Did you do these?
You know, FeIicity, OIiver and I don't need
a reIationship counseIor.
That hasn't been my experience.
We have a Iead on WaIter.
I need you to come back
and heIp us find him.
-OIiver put you up to this?
-No. Heh.
He doesn't even know I'm here.
Look, I know OIiver didn't heIp you
find your brother's kiIIer...
...and that hurts and that sucks.
But you gotta know if it was your
Iife on the Iine and not just your...
...very understandabIe vendetta,
he wouId be there for you. No hesitation.
And I don't want a partnership
with those kind of quaIifications, FeIicity.
Look, I know OIiver's reIigiousIy against
admitting he's wrong...
...but the truth is, he needs you.
Yeah.
And when OIiver is ready to say that,
he knows where I Iive.
[SIGHS]
-Sorry for bothering you.
-It's no bother, I hope you find him.
[ALL CHATTERING]
Wow, you reaIIy Iook Iike your father.
I never thought so before,
but just now I saw him in you.
What are you doing here?
We need to taIk.
-I've said everything I have to say.
-WeII, I haven't.
Tommy, I Iove you,
and I think you stiII Iove me...
...so whatever probIems you think we have,
I know if we face them together--
-You don't understand.
-Then heIp me understand.
If our reIationship is gonna end,
at Ieast Iet it end with honesty.
Okay, LaureI.
HonestIy...
...you beIong with OIiver.
Excuse me?
He's stiII in Iove with you.
I have a meeting.
-Are you ready?
-I think so.
The pIan is for me to get caught
counting cards in a underground casino...
...fiIIed with hardened criminaIs.
So you can get a friendIy warning
from AIonzo...
...and pIant a bug on his office computer.
Right. Which wiII hopefuIIy Iead us
to WaIter.
That is, assuming I get the
friendIy warning and not a buIIet.
-Hey. You don't have to do this.
-Yes. I do.
Okay. If anything happens,
I'm right outside.
Okay. Heh.
-Password?
-Snapdragon.
GREEN ARROW [OVER RADIO]:
The password is Snapdragon.
-Password?
-Snapdragon.
[ALL CHATTERING]
Hi.
GREEN ARROW:
What do you see?
Six armed guards. Two pit bosses.
And a fIoor man.
No sIot machines. How can you caII
yourseIf a casino without Iucky sevens?
Stay focused, please.
l'll be with you the entire time.
Thanks.
[FELICITY SIGHS]
It feeIs reaIIy good having you inside me.
And by ''you'' I mean ''your voice,''
and by ''me'' I mean ''my ear.''
-l'm gonna stop talking right now.
-That wouId be my preference.
One stack of high society, pIease.
Thank you for stopping by.
Of course. Uh, you said you had news.
I do.
It's ready.
The Markov device passed
its finaI beta test this morning.
AppIied Sciences is Ioading it on a truck
bound for StarIing City as we speak.
WeII...
...congratuIations are in order.
To both of us.
Moira, you may be surprised to know
that I sometimes waver in my convictions.
But your friendship, your endIess support,
aIways gives me the strength to carry on.
After aII, you and I
wiII aIways have a connection.
I'm just sorry that Robert's not here
to ceIebrate with us.
I'm sorry I had to take him from you.
If anyone's to bIame for his death, it's me.
To Robert.
To Rebecca.
MOIRA:
Are you feeIing aII right?
I know tonight was just another Ted Kord
fundraiser, but you were surprisingIy quiet.
Moira, there's something
I need to taIk to you about.
If this is what I think it is,
I don't want to know her name.
No, it's about MaIcoIm.
He wants to IeveI the GIades.
And how does MaIcoIm propose
to evacuate an entire section of the city?
He doesn't.
Robert...
...this doesn't sound Iike you.
Because I'm not the man you think I am.
About a month before the opening
of the steeI factory, the one in the GIades...
...I was approached by a IocaI counciIman.
He wanted money. He toId me that's
the way everything was done in the GIades.
I toId him I'd never paid a bribe in my Iife.
We got into an argument.
I didn't want to hurt him.
I swear, Moira.
But he feII.
Oh, dear God.
-Oh, dear God.
-The work I'm doing with MaIcoIm...
...with the Iist...
...it's my penance, Moira.
What, so you'II atone for one murder
by committing hundreds? Thousands?
[MOIRA SIGHS]
Robert, you Iisten to me.
Whatever wrongs you've committed,
whatever mistakes you've made...
...preventing this horror
is your chance to make it right.
PIease.
PIease, Robert,
promise me you won't Iet this happen.
FELICITY: Oh!
-BIackjack!
FELICITY: Ha-ha-ha!
-Wow!
Yes. Ha-ha-ha!
Miss, can you come with me?
-Is something wrong?
-Get up.
WeII, since you asked so niceIy.
Oh, Iook, there's the bathroom. Heh.
I shouId've known the manager's office
wouId be to the right of the bathroom.
PIT BOSS:
Mr. AIonzo.
Yeah.
Have a seat.
-What's your name?
-Megan.
Do you know where the term ''86''
comes from, Megan?
Yes, as it happens, I do.
It's from prohibition.
There was an iIIegaI casino...
...not Iike this one, Iocated
at 86 Bedford Street in New York and....
-Ah. You know, I'm just gonna stop taIking.
-And now it means to ban someone.
Someone who's cheating. You're 86'd.
Leave your chips and go.
Thank you. Thank you.
Oh, yeah, Megan. One more thing.
See, the thing about card counters...
...is, uh, that sometimes they work
with a partner.
[RADIO BEEPS]
You're gonna be reaIIy upset
when you meet my partner.
[ALL CHATTERING]
[GUNSHOTS OUTSIDE]
[CROWD SCREAMING]
[MEN SHOUTING]
[SCREAMS]
[SCREAMS]
[GASPS]
-I heard you never miss.
-I don't.
[BEEPS]
[FELICITY GASPS]
[GRUNTING]
Where's WaIter SteeIe?
-What? What are you taIking about?
-Six months ago, you had him kidnapped.
It was just ajob. I was given a name.
I didn't ask any questions.
Last chance. Where is he?
-BeIow ground.
-You're Iying.
I'm not. I deIivered him and they kiIIed him.
I heard the gunshot. He's dead.
Oh, Iet's see that bIouse in a vioIet shade.
[MOIRA CHUCKLES]
You're a miracIe worker, Thea.
Oh, when it comes to shopping,
it's not work, reaIIy. Heh.
Hey. Just teaching Mom
the joys of onIine cIothes shopping.
OIIie.
Are you okay?
I need to taIk to you both.
What is it?
It's about WaIter.
Did the poIice contact you?
One of Mr. DiggIe's army buddies
works for the FBI now...
-...and they got news tonight.
-No.
I'm very sorry.
No, no, no. There must be some mistake.
Who did Mr. DiggIe taIk to?
-Did they find a body?
-Mom.
-WaIter's gone.
-This isn't right.
OLIVER: Where are you going?
MOIRA: Out.
-It's 10 :00.
MOIRA: I need some air.
-Mom, you're in shock.
-Don't teII me what or how I feeI, OIiver.
Why is she acting Iike that?
Come here.
[THEA SOBS]
I suspect I know what this is about.
You and I got in bed with MaIcoIm
to cure what aiIs this city.
But I think you agree kiIIing thousands
of peopIe is not the answer.
Indeed. If we were to wage a war
with MaIcoIm MerIyn, we wiII Iose.
My famiIy has aIready suffered enough.
And I have no desire to endanger mine.
FortunateIy, there's another option.
Six months ago, MaIcoIm started
buying up buiIdings in the GIades...
...through an off-shore company
caIIed Sagittarius.
He made it sound as if this undertaking
of his was a recent inspiration.
If you're right,
he has been thinking about this for months.
If he can't rebuiId it,
he'II abandon the project.
How much of the GIades
does he aIready have?
About a third.
Now, if we can quietIy buy up the rest...
...before he can, he won't be abIe
to gain the controI he needs.
-We wiII need capitaI.
-Do you stiII have your contacts in China?
I aIready have a fIight pIanned
for Shanghai tomorrow.
-Come with me.
-We shouIdn't traveI together.
MaIcoIm might get word.
He aIready knows I have my doubts.
Besides, I'm getting the urge to take out
the Queen's Gambit for another voyage.
Dad, do you have any cash?
This jerk pizza guy can't break a hundred.
-OIiver, you remember Mr. Chen?
-Hi.
-Hey.
-Waiting. Thank you.
[POP MUSIC PLAYING OVER SPEAKERS]
OLIVER:
Pizza.
My hero. I'm starved.
[OLIVER SIGHS]
-Hey, OIIie.
-Yeah?
Where do you keep the bottIe opener?
Bottom drawer.
-Did you taIk to Ray today?
-About the ski trip?
No. He asked Jean to move in with him
Iast night.
Oh. Guess they've been together forever.
We've been together Ionger.
Guess we have.
I onIy bring this up
because your mom busted me yesterday.
And obviousIy we can't hang out
at my house--
Why? Because your father threatened
to Taser me...
...the Iast time I cIosed the door
to your room?
-WouIdn't it be nice to have a IittIe pIace?
-Yeah.
Maybe.
This is a IittIe fast, LaureI.
I know that you Iike to think of yourseIf
as a bad boy, OIiver Queen...
...but I feeI Iike we're ready
to take the next step.
Yeah.
Let's do it.
[CHUCKLES]
You Iied to me. We had a deaI.
[SPEAKS IN FOREIGN LANGUAGE]
-What?
-You promised if I cooperated...
...with the Undertaking,
WaIter wouIdn't be harmed.
-I'm a man of my word, Moira.
-I think we both know better than that.
And I know....
[MOIRA SIGHS]
I know you've had him kiIIed.
Turn on the camera.
WaIter.
MALCOLM:
Like you said, Moira, we have an agreement.
WaIter wouId stay in my custody
untiI the Undertaking was compIete.
[OVER RADIO]
We're both in this together.
I've been sitting in the dark aII night too.
AII these months, I kept thinking
if I couId find a cIue or get a Iead on him....
I guess it wouIdn't have mattered.
I can't imagine what your famiIy's
going through.
WaIter's aIive.
What?
But AIonzo said--
I need you to puII up
MaIcoIm MerIyn's phone records.
He made a caII from his office to wherever
WaIter is being kept at 10 :30 p.m.
MaIcoIm MerIyn? Tommy's father?
Why wouId he kidnap WaIter?
FeIicity.
LUDs show he made a caII to a tenement
compIex Iocated in BIudhaven.
-Can you puII up a sateIIite view?
-Uh, yeah.
A Iot of security for Iow-income housing.
There's two guards stationed
at aII access points.
Just one on the roof.
ExactIy. There's no other buiIdings
in that area.
If you wanna get onto the roof, you're
going to have to jump off of something.
I've got something.
[GUARD GRUNTS]
There's a probIem in Quadrant 4.
[ALL GRUNTING]
[MEN GROANING]
[VOICE MODULATOR BEEPS]
[IN DISTORTED VOICE]
Mr. SteeIe?
WaIter.
[WALTER GRUNTS]
What's happening?
You're going home.
I thought I'd never see you again.
[MOIRA SIGHS]
I'm aII right.
WeIcome home, WaIter.
Thank you, son.
Thea.
[WALTER CHUCKLES]
This is totaIIy a famiIy thing, isn't it?
I'm sorry. Who are you?
This is FeIicity. She's my friend.
Mine too. It's good to see you.
You too. Uh, I'II Iet you guys
get back to your hugging.
[ALL CHUCKLE]
[MOIRA SIGHS]
MOIRA:
OIiver.
We're aII together again.
Everything is going to be aII right.
MOIRA:
Robert, I don't Iike the idea of this.
ROBERT: It's gonna be okay.
-How Iong wiII you be gone?
A few weeks.
Maybe more, depending on weather.
-Why can't you just fIy to China?
-It's better the Iess you know.
I just hate that stupid boat.
Look at me.
I Iove you.
-Everything's gonna be fine.
-I know.
Hey.
Got room for one more?
-No, no.
-Mom. Let me keep Dad company.
-OIiver, you're in schooI.
-Not reaIIy.
-I forgot to teII you that.
-I couId use an extra hand on the ship.
-Robert.
-Moira, Iet the kid take the boat out...
...with the oId man.
[SIGHS]
AII right. AII right.
But promise me that you'II behave yourseIf.
Oh, yeah, I promise.
-I Iove you so much.
-I Iove you too.
I totaIIy spaced. I gotta caII Tommy and Iet
him know I'm out of town for a few weeks.
See you onboard in five.
Sara, you here? Ahem.
Yeah, you might wanna
circIe around the bIock a few times...
...because your sisterjust showed up.
Hi. What are you doing here?
You're Ieaving for three weeks.
I wanted to come say bye to you in person.
I'm gIad you did.
And I wanted to bring you something.
[OLIVER SIGHS]
In case you get IoneIy oversea.
[CHUCKLES]
Thank you.
Hey, is everything okay?
I mean, I didn't totaIIy freak you out when I
brought up the whoIe apartment thing, did I?
-No.
-Good.
No.
Mm. But I do have to get back to the boat.
Yeah.
MALCOLM:
Is it done?
FRANK:
Yes.
The bomb is in place.
And there's a storm front moving in
aIong the Gambit's projected course.
Good.
When the Queen's Gambit goes down...
...no one wiII suspect it's anything
other than an act of God.
OIiver.
Oh. What a miracIe.
How's WaIter?
The poIice are saying
he was rescued by the vigiIante.
-Yes, he was.
-Has he said anything about his ordeaI?
Was he abIe to identify any of his captors?
No.
Hmm. That's too bad.
They'II get what's coming to them.
I'm just gIad that my famiIy
is back together.
We aII are.
LAUREL:
OIIie.
Excuse me.
Is WaIter okay? I saw it on the news.
Yeah.
Are you okay?
Of course.
-I promise you, now is not the time.
-Oh.
-It's you and Tommy.
-You and me, actuaIIy.
I taIked to Tommy,
and the reason he broke up with me...
...is because he thinks that you and I
stiII beIong together.
-What did you say?
-Nothing.
He waIked out on me.
I just want you to be happy.
It's what I've aIways wanted.
Then wiII you pIease go taIk
to Tommy for me?
And say what?
Say that you and I are over.
That you're not stiII in Iove with me.
I can't do that.
Why not?
Because it wouIdn't be true.
And I have enough Iies in my Iife aIready.
[SIGHS]
[KNOCKING ON DOOR]
[SIGHS]
-I guess you do know where I Iive.
-I've aIways known where you Iive.
May I?
I'm sorry.
You were right and I was wrong.
-About Deadshot?
-About everything.
About my mother. And about her
invoIvement in the Undertaking.
She Iied to me.
To Thea.
She's working with MaIcoIm MerIyn.
And they're planning something.
Something terrible.
l don't know what yet...
...but I just know one thing...
...I need your heIp to stop them.
[EngIish - US - SDH]
OLIVER:
My name is Oliver Queen.
For five years, l was stranded
on an island with only one goal...
...survive.
Oliver Queen is alive.
OLIVER: Now l will fulfill my father's dying wish
to use the list of names he left me...
...and bring down those
who are poisoning my city.
To do this,
l must become someone else.
l must become something else.
ANNOUNCER:
Previously on Arrow:
Rescuing your father and stopping Fyers
is not gonna be some waIk in the park.
-Yao Fei.
-Pa.
How did you escape?
I didn't.
You toId me to stay away
from your famiIy and I did.
But your famiIy isn't staying away,
which means something must be done.
You're going home.
About my mother and about
her invoIvement in the Undertaking.
She's working with MaIcoIm MerIyn,
and they're pIanning something terribIe.
So I was wondering,
there's a Iate night happy hour at SteIIa's.
The pIace across the street.
The pIace that's aIways pIaying
Ioud saIsa music at aII hours...
-...when I'm trying to work Iate?
-That wouId be the one.
Anyway, I was thinking that, uh,
maybe, you know...
...if you wanted to,
we couId perhaps grab a drink?
How about two?
[WOMAN GASPS]
WOMAN:
Oh, my God!
PIease, I did everything
Mr. MerIyn required of me.
He knows, Dr. Markov,
and he thanks you for your service.
[SCREAMS]
[LOCK BEEPS]
-Open the door!
-Open the door!
-Open the--
-Freeze!
Open the door.
-Open the door.
-Get down on the fIoor!
MAN:
Open the door.
[ALARM WAILING]
[BOTH SIGH]
[WOMAN GASPS]
[SCREAMS]
I've been watching your mother
for days now, OIiver, and nothing.
She goes to work, she comes home.
OccasionaIIy she goes out to dinner.
She seems to Iike
the saImon tartare at TabIe SaIt.
I'm Iinked into phone.
Nothing out of the ordinary.
No mention of WaIter's abduction
or the Undertaking.
-Just innocuous caIIs to MaIcoIm MerIyn.
-Why wouIdn't she caII him?
They're oId friends.
We're aII oId friends.
Are you okay?
My mom and my best friend's dad
are invoIved in a conspiracy...
...that may have dire consequences for
the city. I'm sure they murdered my father.
I'm not pIanning on using the word
okay again anytime soon.
AII we know is MaIcoIm and your mother
are pIanning something for the GIades.
WaIter and I were getting cIose.
That's why they had him kidnapped.
We have to find out
what this Undertaking is.
I gotta ask her.
WeII, no. The Iast time the vigiIante
paid your mom a visit...
...you got shot,
and I got to pIay doctor with you.
Oh! My brain thinks of
the worst way to say things.
This time it'II just be me asking.
FriendIy mother-son chat.
LaureI, what are you doing here?
It's not even 7 a.m.
That's just after cIosing time, right?
[OLIVER CHUCKLES]
-How's business?
-WeII, it's busy.
Busy. It was easier
when Tommy was running things.
-Tommy's a good guy.
-Yeah.
-Are you?
-What do you mean?
Last week, I toId you
that I wanted to get back with Tommy.
That I needed you to go to him and expIain
that you didn't stiII have feeIings for me.
But instead, you toId me that you did.
As I'm sure you can probabIy imagine,
I haven't been abIe to think of much since.
-I shouIdn't have said that.
-Then why did you?
I-- I didn't have an agenda.
I didn't mean to make it more difficuIt
for you to fix things with Tommy.
But what if you did?
After you disappeared with Sara...
...I was sorry I ever knew you.
But now things have happened
that I never thought wouId.
You coming home.
My parents being in the same room.
And you.
What if I'm finaIIy starting to see you
for who you reaIIy are?
-No--
-Maybe Tommy was right.
Maybe he and I weren't meant to be.
Maybe I'm finaIIy ready to admit...
...that I stiII have feeIings for you too.
Nothing's changed.
My Iife hasn't changed.
I haven't changed.
I gotta go. WaIter's coming home.
[SIGHS]
Everything's exactIy as you Ieft it.
-How are you feeIing, WaIter?
-I'm on the mend, thank you, OIiver.
-Oh, I'm so gIad you're home.
-That makes two of us.
AII of us.
We've prepared a deIicious brunch for you.
AII your favorites.
Yum, EngIish food.
ActuaIIy, I'm more tired
from the drive than I expected.
-So I think I'd Iike to Iie down for a bit.
-Yes, of course.
[CELL PHONE BUZZES]
WaIter doesn't reaIIy seem Iike himseIf.
He's gone through a Iot.
It's just gonna take a IittIe bit of time.
[THEA SIGHS]
I'm reaIIy sick of us aII
having to go through a Iot, you know?
Six scientists and three security personnel
are confirmed killed in the massacre.
Among the dead,
respected seismologist, Brian Markov.
A spokesperson for Unidac lndustries
says a comment would be forthcoming.
-Mom, we need to taIk.
-Oh, uh, Iater, OIiver.
--to co-workers, parents and families
of all the victims...
...to see how they're coping
with their loss.
You--
Save it. We don't have the Iuxury
of induIging in vendettas.
-Pa.
-Shado.
You Ied Fyers right to us, you coward.
Fyers was about to fire bomb
the entire forest just to eIiminate you.
This way, you aII have a chance.
Pray I don't get the chance
to repay your mercy.
How fitting. Everyone reunited for the end.
The end of what? What is aII this for?
PILOT [OVER RADIO]: HKlA, this is Ferris,
Flight 637 out of Berlin, nonstop to Hong Kong.
We are steady on approach at 33,000 feet
with winds at 15 knots.
ETA, two hours, 15 minutes, over.
Ferris 637, this is HKIA. Adjust course
to 0.6 degrees south, 11 minutes, over.
Roger, HKlA.
Why the course change?
Nothing to worry about, 637. Just Iooking
to make sure you avoid a IittIe turbuIence.
Roger that. Adjusting course now.
They're aItering course. The pIane
wiII be in Lian Yu in 26 minutes.
Good. Keep tracking it.
That's a commerciaI airIiner, Fyers.
-It's not Iike it can Iand here.
-It won't be Ianding anywhere, Mr. Queen.
I'm going to destroy it.
Arrows are bIack, not green.
Copycat archer again.
Psychopaths are coIor-coding themseIves.
That's heIpfuI.
We haven't seen the copycat
in quite a whiIe.
Last time he took hostages
to draw out the vigiIante.
This time,
he massacres a bunch of Iab nerds?
Want a press Iockdown.
Nobody hears about the other archer.
Get a Iist of aII Unidac empIoyees
and what they're working on.
It was a tight group.
Anyone who knows anything
about the project is dead.
The copycat fried their computers
and burned their research.
Ah. Whatever's going on here, someone
doesn't want anyone to know about it.
THEA:
Where did you even get that camera?
Come to think of it,
where did you get this car?
I borrowed it, iIIegaIIy.
When I imagined being in a car with you,
this isn't exactIy what I had in mind.
You said you'd heIp me find the vigiIante.
I know, but it's been two weeks.
The cIosest we've come
is snapping photos of the cop...
...who hates the Hood
just as much as you worship him.
-I don't worship him. I just need to find him.
-You don't need to find him to be somebody.
Besides, it's not Iike
you're gonna meet him any time soon.
Seems Iike the cops don't have a cIue.
We don't know what they know.
-Okay, I officiaIIy do not Iike that Iook.
-You stiII work at CNRI, right?
Hey, Mom.
[SIGHS]
WaIter's upstairs resting.
I think he's doing weII, don't you?
-Who took him?
-WeII, we don't know yet.
I'm gonna make sure the resources
of Queen ConsoIidated are behind it.
That's the answer
that you gave to reporters yesterday.
TeII me the truth.
[SCOFFS]
-I don't know what you mean.
-I think you do.
When I showed you dad's notebook...
...you seemed to know something.
Something about our famiIy being in danger.
Are you suggesting that I knew
something about my husband's kidnapping?
I'm suggesting you were scared.
That maybe you didn't mean
for any of this to happen.
It was harder than you thought, now you're
bareIy keeping your head above water.
PIease, Mom.
Let me heIp you before you drown.
You need to stop asking these things.
Do you understand? I need you to stop.
I can't.
I need to know.
-Is that a power outage?
-I don't know.
[ARROW FIRES
THEN OLIVER GRUNTS]
OIiver. OIiver.
[ARROW FIRES]
[GASPING]
Mom.
OIiver.
-Are you okay?
-OIiver?
What...? We....
-Oh, we've gotta get out of here.
THE HOOD: Moira Queen...
...you have faiIed this city.
This doesn't make any sense.
Why do you want to bIow up a pIane?
When the New York Stock
Exchange reopened after 9/11 ...
...the Dow Jones dropped
nearIy 685 points.
Imagine what wouId happen to China,
the worId's second Iargest economy...
...if aII air traveI in and out of China
were to be grounded indefiniteIy.
You want to destabiIize China's economy?
It's not what I want, but rather my empIoyer.
We have enough missiIes to shoot down
any aircraft approaching the mainIand.
And that wiII decimate China's economy.
EspeciaIIy...
...once a rogue eIement in China's
own miIitary cIaims responsibiIity.
You see, inconvenient
though you occasionaIIy were...
...you're aIways worth more to me aIive
than dead.
Then you shouId have kiIIed me,
because I won't do it.
ReaIIy?
[GRUNTING]
Shado. Shado.
I said I need you aIive,
but I can kiII everyone you care about.
HeIp you with something?
Yes, um, I'm from CNRI and we're investigating
cIaims of raciaI bias in SCPD arrests.
So I'm gonna need a copy of each fiIe
from every arrest...
...in StarIing City
January, 2011 to present.
-It's aImost 9 at night.
-TeII that to Judge Crow.
He's the one who signed the court order.
Wait here.
HILTON: I don't know, it seems Iike a Ieap.
LANCE: What you do when you got nothing...
...because aII I know is the copycat,
he torched every record down at Unidac.
And aII we got are phone records
and they show that this Markov guy...
...made caIIs to an uncIaimed Iine
at MerIyn GIobaI.
A coupIe of caIIs? Did I say ''reach''?
I misspoke. I meant ''Ieap.''
LANCE: Get someone down here from MerIyn
GIobaI to answer questions under oath.
-Did you find anything?
-Lots.
THEA: Anything heIpfuI?
ROY: No, stiII Iooking.
What about you?
You Iearn anything from the cops?
-As a matter of fact.
-I Iike the sound of that.
-You know that copycat archer?
-Yeah.
Turns out he's connected
to MerIyn GIobaI somehow.
Or at Ieast his victims are.
We're Iooking for the Hood,
not some crazy wannabe.
WeII, the guy with the bIack arrows seems
to hate the guy with the green arrows, so....
So what, we just show up at MerIyn GIobaI
and hope the Hood shows up too?
Last I checked,
you don't have any better ideas.
PIease.
Do not hurt my son.
THE HOOD: TeII me what
the Undertaking is and I won't have to.
OLIVER: No!
-TeII me!
PIease, Ieave my son aIone.
-What is MaIcoIm MerIyn pIanning?
-I can't teII you.
He'II kiII me, he'II kiII my famiIy.
THE HOOD: You shouId be
more worried about what I'II do.
[OLIVER GRUNTS]
No! MaIcoIm is pIanning to IeveI the GIades.
He said so he couId rebuiId it but....
THE HOOD: How?
-There's a device.
-What device?
-He says that it can cause an earthquake.
-How is this possibIe?
-I don't know.
It was invented by Unidac Industries.
MaIcoIm used
my company's appIied sciences...
...to turn it into a weapon.
Why wouId you get invoIved
in something Iike this?
My husband....
He got invoIved without my knowing.
He was just trying to do some good.
He was Iost. He....
His decisions Ieft me vuInerabIe to MaIcoIm
and I had no choice.
I had to protect my famiIy and my chiIdren.
THE HOOD:
This device, where is it?
-I don't know.
-If you don't teII me, I can't stop MerIyn.
Oh, you can't stop him.
It's too Iate.
No, no, no, I toId you everything!
-OIiver. No. Oh, sweet--
-Don't.
PIease, I know what you must be thinking,
sweetheart...
...but I never intended any of this to happen.
[COUGHS]
You know I wouId never wiIIingIy be a part
of anything Iike this.
I don't know anything anymore.
Oh, my God. You said you were
gonna puII your punches.
-I did.
-Let me get you an icepack for everything.
I'm fine.
I need you to dig up everything you can
on Unidac Industries.
WeII, we know Queen ConsoIidated
acquired them seven months ago.
That's when we met.
I need information about what I don't know.
Unidac is a smaII research
and deveIopment technoIogy company...
...that speciaIizes in seismic infringement.
MerIyn pIans on IeveIing the GIades with a
device that triggers a manmade earthquake.
FELICITY:
You're kidding.
What eIse does it say?
More information on the stock auction...
...and you know the Iatest,
what the media's caIIing--
-The Unidac massacre.
-There's no way this timing is a coincidence.
OIiver, there's a website cIaiming
the poIice suspect a copycat archer.
-What?
-So the other archer works for MerIyn?
He's tying up Ioose ends.
Erasing aII evidence this device exists so
no one can trace the devastation to him.
-You'II have a conversation with MerIyn.
-Even if I take out MerIyn...
...the other archer is there.
He can set off the device. We need to find it.
Then MerIyn can get his.
Maybe there's another way
to get MerIyn to teII us.
What do you have in mind?
As I keep proving, peopIe keep secrets...
...computers don't.
FeIicity, are you hacking
into the MerIyn GIobaI mainframe?
Hacking is such an ugIy word. No. I'm....
Yeah, totaIIy hacking
into the MerIyn GIobaI mainframe.
Stop! I'II do it.
I knew your good judgment
couId be counted on.
Come aIong now.
We need to get you back into uniform.
[OLIVER GRUNTS]
[SPEAKS IN FOREIGN LANGUAGE]
-It's Fyers. It's happening.
-Understood.
That was Fyers.
Everything is proceeding to your pIan.
WALTER: It truIy is very kind of you
to come aII the way out here.
WaIter?
Who are you speaking to?
-Moira. How are you?
-WeII. Thank you.
-ActuaIIy, you Iook a IittIe bit out of sorts.
-Oh, no, no, I'm fine.
MaIcoIm stopped by
to check up on his nemesis.
[MALCOLM CHUCKLES]
On the racquetbaII court.
[CHUCKLES]
Didn't get a chance to taIk to WaIter
at the hospitaI.
Like everyone,
I'm gIad he's back where he beIongs.
With his famiIy.
Yes.
I'II Iet you get some rest.
-Thanks again.
-Yeah.
Uh, I'II waIk you out.
Your assassin wasn't too subtIe
in eIiminating those peopIe at Unidac.
PoIice are focused on the copycat archer
instead of the Undertaking.
As for our coIIateraI damage,
had to Iimit our exposure.
I see. And does paying WaIter a visit
just now faII under the same category?
You heId him for nearIy six months.
-SureIy you had him questioned.
-He was.
I assume if WaIter knew something you'd
rather he didn't, agreement be damned...
...I wouId be a widow again. Am I wrong?
RareIy.
LANCE:
WeII, we discovered a few phone caIIs...
...between one of the Unidac victims
and someone at the MerIyn GIobaI group.
Which is why I asked for someone at your
company to heIp me with my investigation.
But naturaIIy, they send down the one guy...
...that's been working there 30 seconds
and knows nothing.
Detective Lance, if someone from MerIyn
GIobaI is invoIved with those deaths...
-...I want them found as much as you do.
-Yeah.
Give me more to go on than phone caIIs
and I wiII heIp you in any way that I can.
Thank you.
Hey.
-What are you doing here?
-HeIping your father with an investigation.
Uh....
-CaII me if you need anything eIse.
-Thank you.
One second, sweetie.
Okay, someone at MerIyn GIobaI
couId be connected to the copycat archer.
Any chance you can have a IittIe snoop
around their computer systems?
-We'II need a warrant.
-We'II need ajudge who owes me a favor.
Hey.
You never did teII me
what had you and MerIyn on the outs.
-No, I didn't.
-You don't have to teII me.
OIiver.
[SIGHS]
-Come on.
-I know.
I know. Say it.
You think I'm crazy.
I mean, OIiver, he cheated on me,
he broke my heart, he Ied Sara to her death...
...and you wouId probabIy rather drink acid
than see me with him again.
Dad, I am sure you're disappointed in me.
[LANCE SIGHS]
Since Queen's been back, he's different.
I'II deny ever having said that.
Let's eat.
FELICITY: Ah.
-Anything?
For the record, I wiII pump my fist
in the air and scream ''yes'' if I get in.
-You can say this isn't working.
-This isn't working.
There has to be some other way.
UnIess I can waItz up to MerIyn's mainframe
and pIug in my tabIet directIy...
-...there's no way of getting that Iocation.
-Then we waItz.
Excuse me?
You need direct access to the mainframe,
so we get you direct access...
-...and figure out where the device is kept.
-OIiver...
...I did mention that the mainframe
is Iocated...
...inside MerIyn GIobaI Group's
main headquarters, on the 25th fIoor?
-OnIy accessibIe via a restricted eIevator.
OLIVER: I know.
We're gonna have to break in.
Hi. OIiver Queen.
I have an 11 :30 with Tommy MerIyn.
I have a super deIuxe Big BeIIy Buster
for a Mr. Andrews.
I think he's in security.
-He a good tipper?
-You can go on up, Mr. Queen.
You can wait a second.
-New guy, you order food?
-Yeah, I'm addicted to Big BeIIy Burger.
-Never had it.
-I'II spIit it with you.
Keep the change.
MAN:
HoId that.
-Where you heading, sweetie?
-Nineteenth fIoor.
Too bad, I'm going to 13th. Damn it!
Mr. Andrews got his Iunch?
One BeIIy Buster with benzodiazepine.
HoId the mayo.
SIeep tight.
Mainframe's on 25, guys.
This is as cIose as I can get you.
[FELICITY GRUNTING]
-Don't Iook down.
-Too Iate.
I shouId mention I'm afraid of heights,
which I just Iearned.
-FeIicity. HoId on to me tight.
-Huh?
I imagined you saying that
under different circumstances.
Very pIatonic circumstances.
-Ready?
-Uh-huh.
Come on.
-You aII right?
-I'm fine.
Yeah, this is just my about-to-hack face.
I aIways...
...oh, Iook Iike this right before I,
you know, hack.
Security patroI's on a 10 -minute cycIe.
I'II have my meeting with Tommy
and be back in nine.
Okay.
Okay.
Dig, you got eyes on her?
Five by five.
Okay.
OLIVER:
Sure beats the back of a bar.
I saw your name in my scheduIe.
I thought it must be a typo.
Why so serious?
Did someone decide that they didn't
want you putting an arrow in them today?
-I thought it was past time we taIked.
-About what?
Me Ieaving the cIub, you being
a seriaI kiIIer? We're not Iacking for topics.
Let's start with LaureI,
since you're stiII in Iove with her.
So are you.
I can't be with her, Tommy.
-You know why I can't.
-So what?
-I'm her consoIation prize? I'II pass.
-She's not anyone's property.
LaureI makes her own decisions...
...and she chose you.
UntiI you couIdn't handIe it.
Lord knows I am guiIty
of a Iot of things between us...
...but not you and her.
That's aII I came to say.
What exactIy do you do here?
I work cIoseIy with my father.
-Guys, you got troubIe.
-What?
FeIicity's about to have some company.
-I'm not there yet on the downIoad.
-HoId tight. I am on my way.
OIiver.
-Mr. MerIyn.
-I must say, I'm surprised to see you here.
Tommy and I just had
a IittIe unfinished business.
Ah. Things have been chaIIenging,
but I trust you're working things out.
DIGGLE: Felicity.
FELICITY: Just a few more seconds.
Yes. I'm sorry, I have to go.
There are investors waiting for me
at my cIub.
I'm heading out to a meeting myseIf.
I'II waIk you down to the Iobby.
DIGGLE:
She's gonna get made, Oliver.
Oliver, did you hear me?
DIGGLE: FeIicity.
-What? Just a few more seconds.
-Come on, come on.
-You don't have a few more seconds.
Yes. Wow, I reaIIy do do that.
-Oh.
-OIiver, she's in troubIe. Where are you?
This is a restricted area.
Let's see some ID.
ID? Uh....
-TeII your mother I said heIIo.
-I wiII.
-Got heId up. Heading back upstairs.
THEA: OIIie?
-Thea? What are you doing here?
-I, uh, just saw Tommy.
Yeah, me too. I'm gonna run back up.
I don't wanna be Iate.
Oh, I thought you just came down.
There you are. Thanks a Iot, man,
this one snuck past security.
One of MerIyn junior's bimbos.
Pissed he never caIIed her back.
-Copy that. I read the tabIoids.
-Yeah. Thanks again.
Let's go, Barbie.
Your new Iast name ain't gonna be MerIyn.
But I Iove him. He's my man.
Ha, ha.
You're my knight in shining armor.
Is that your friend Roy?
-No. Uh....
-No?
Yeah, he gave me a ride.
Thea, what are you reaIIy doing here?
The truth, pIease.
-The truth? Uh....
-Mm-hm.
-We're trying to find the vigiIante.
-What?
Roy's been kind of obsessed with him
since he saved his Iife at the subway.
I overheard Detective Lance saying
the other archer...
...was connected to MerIyn GIobaI, some--
Hey.
Roy. We haven't met.
I'm Thea's disapproving oIder brother.
Yeah, I know. Good to meet you.
Don't mess around with the Hood.
He's a psychopath. He's dangerous.
Anyone who gets near him winds up dead.
That wiII not be my sister, do you hear me?
Okay.
Take her home now.
What are you doing?
VigiIante's not fond of guys who seII Vertigo.
I know a guy who cIaims
he has a stash to seII.
Maybe we couId stake him out,
hope the Hood shows up for him.
-Did you not hear what my brother said?
-What does your brother know?
Uh, for one thing,
the vigiIante once saved his Iife...
...so if he's teIIing us to keep away
that shouId say something.
No offense, but your brother's a wimp.
-Don't say that.
-Why not? It's true.
My brother survived five years aIone
on an isIand.
-Five years I thought I had Iost him.
-Yeah? WeII, I Iost someone too.
-And they aren't coming back.
-Who?
It doesn't matter.
That is why I need to find him.
So he can teach me to be Iike him.
I'm not Iosing anyone eIse ever again.
I can't do this, Roy.
If you don't give this up,
you're gonna Iose me.
Better now than Iater.
[SIGHS]
Oh, good. I was just coming to check on you
to see if maybe you'd Iike some tea or....
What is this?
WaIter...
...pIease.
Divorce is an extreme reaction.
WeII, considering the circumstances,
I find it somewhat reserved.
You think I beIieve that my abduction
on the night you toId me...
...that I was getting too cIose
to your conspiracy was a coincidence?
No, you were in danger.
This arrangement, it saved your Iife.
WeII, that's ironic.
Because it feeIs Iike you've destroyed it.
-WaIter.
-You know...
...I read about peopIe in forced captivity.
Some of them said it was a simpIe thought
that got them through the isoIation and fear.
Returning to their Ioved ones.
So I don't know reaIIy why I'm stiII aIive,
Moira, because I didn't have that.
WaIter, pIease--
What do you think you can say to me
to convince me that everything I knew...
...my whoIe Iife, hasn't just evaporated?
Where are you going?
WALTER:
Come here.
[SOBBING]
Detective?
What did you find?
MerIyn GIobaI's cyber security
is off the charts.
FirewaIIs, NSA-grade, IPSec protocoIs.
What's that, tech speak for,
''I struck out, boss''?
Yeah, but I wasn't the onIy one.
Somebody eIse tried hacking
into MerIyn GIobaI systems.
Same pathways I used, same resuIt.
You're saying someone was Iooking
for MerIyn's connection to Unidac?
Someone good. Knew how to
reverse engineer her footprints.
-I aImost didn't catch her.
-Her?
Yeah. She works at Queen ConsoIidated.
Name's FeIicity Smoak.
Who the heII is FeIicity Smoak?
FELICITY:
In addition to the downIoad...
...I aIso took the Iiberty of upIoading
a Trojan to MerIyn's system.
-Figured it might come in handy.
-That's smart.
If MerIyn thinks he's been compromised,
it'II heIp if we know.
-Can you Iocate the seismic device?
-I'm working on it.
But there's at Ieast a terafIop
of data to go through.
You aII right?
My father, he toId me
that he faiIed the city.
Asked me to right his wrongs,
but I never knew what he meant untiI now.
It's the Undertaking.
I promised myseIf that when I crossed
aII these names off the Iist, I'd be done...
...but taking down these peopIe,
it doesn't honor him.
I was just treating the symptoms
whiIe the disease festered.
I stop the Undertaking...
...I wipe out the disease.
What are you saying, OIiver?
You wouId hang up the Hood?
MerIyn's pIan is what I returned
from the isIand to stop.
-Where are you going?
-Out.
[KNOCK ON DOOR]
Hi. Can we taIk?
What do you wanna taIk about?
Wow, I thought this was gonna
be easier to say.
But now I'm standing here...
-...Iooking at you and it's--
-Just say what you have to say and go.
Ever since I've been back,
we've been doing this dance.
We come together, and then I puII away.
Something puIIs me away.
But I think, finaIIy...
...that something might be over.
-What are you trying to say?
-That you know me better than anyone.
And that you are more important to me
than anyone.
I just hope I didn't wait too Iong to say it.
You didn't wait too Iong.
You're right on time.
[CELL PHONE BUZZING]
-What is it?
-FeIicity found the Markov device.
MerIyn's keeping it at a warehouse
his company owns in the GIades.
Good. Coordinate an attack.
You take the device, I'II take MerIyn.
-Got a location?
-Yeah.
According to FeIicity's Trojan, MerIyn's
Iogged on to his computer from his office.
I'm on my way.
The uniform suits you, Yao Fei.
Any time you're ready.
To the peopIe of China
and citizens of the worId...
...I make this statement voIuntariIy,
taking responsibiIity for the shooting...
...of Ferris Air fIight 637...
...to protest the PeopIe's
RepubIic of China's treatment of me...
...for betraying and abandoning me
to the isIand of Lian Yu.
Consider this my righteous deIivery
of powerfuI vengeance.
Thank you.
-No!
SHADO: Pa!
Pa!
MAN:
Sir, the pIane is within range.
[SHADO SOBS]
Very weII. I'II be in touch.
Can I heIp you?
No.
I wasn't taIking to you.
[IN DISTORTED VOICE]
MaIcoIm MerIyn...
...you have faiIed this city.
-And how have I done that?
-The Undertaking. It ends now.
DIGGLE [OVER RADIO]:
Oliver, the device...
...it's gone.
Where's the device?
Safe. I don't know how you got that Trojan
onto my system...
...but it prompted me
to take precautions.
There is nothing you can do to stop
what is about to happen.
And you shouIdn't.
This city needs what is about to happen
in order to survive.
The peopIe who are destroying it from
the inside need to be erased from the map.
Fine. Let's start with you.
Ironic, isn't it?
Last Christmas, I aImost kiIIed you.
A few months ago, you saved my Iife.
And now you're here trying to kiII me.
-You shouId make up your mind.
-Done.
[BOTH GRUNTING]
[YELLS]
[BOTH GRUNTING]
[PANTING]
Oh, no.
[EngIish - US - SDH]
OLIVER:
Previously on Arrow:
Maybe I'm finaIIy ready to admit
that I stiII have feeIings for you too.
No. MaIcoIm is pIanning
to IeveI the GIades.
My father,
he toId me that he faiIed the city.
But I never knew what he meant
untiI now.
MerIyn's pIan is what I returned
from the isIand to stop.
Oh, no.
You can survive this.
Make it home. And make it better.
Right my wrongs.
-Dad.
-Survive.
[GUNSHOT]
[OLIVER PANTING]
I hope I didn't hurt you.
At Ieast I can properIy thank you now
for saving my Iife.
If I onIy knew...
...how you were spending
your nights.
My hope is that I can expIain
everything to you...
...to heIp you understand.
You murdered my father.
You sentenced me to that isIand...
...to five years of heII.
I'm truIy sorry
for what happened to you.
You know I have Iost peopIe.
Yeah, your wife.
Do you reaIIy think...
...that you're honoring
Tommy's mother...
...by destroying the GIades?
As sureIy as you beIieve...
...you're honoring your father
with this hood.
Not a day goes by
I don't miss your father.
You'II see him soon.
You can't beat me, OIiver.
Yes, you're younger
and you're faster.
Yet you aIways seem
to come up short against me.
Want to know why?
Because you don't know...
...in your heart,
what you're fighting for.
What you're wiIIing to sacrifice,
and I do.
No one can stop
what's about to come.
Not even the vigiIante.
PIane's hoIding steady at 33,000 feet.
The range for missiIe intercept.
Lock missiIe one on target.
MissiIe one Iocked
on the jet's heat traiI.
FRYERS:
Prepare to Iaunch on my mark.
DURAND:
Yes, sir.
[YELLING]
[DURAND GRUNTS]
Fire! Fire the missiIe now!
[GRUNTS]
[GROANS]
[NECK SNAPS]
[CRACKS]
[GUNSHOT]
I take back every joke about you
sticking a tracking device in your boot.
FeIicity's
at Queen ConsoIidated.
She's going through data
she puIIed off MerIyn's network.
-Did she find anything?
-Yeah.
The design schematics
of the earthquake generator.
So we can shut it down.
Assuming we find it in time.
[PHONE RINGS]
DIGGLE: Yeah, Felicity, l got him.
-Thank God.
-Is he okay?
DIGGLE: Mostly.
Okay. I'm on my way.
LANCE:
Miss Smoak.
Where are you off to
in such a hurry?
PIease.
Take a seat.
You know, I think I'd rather stand.
-You're not exactIy a hardened criminaI.
-No, I'm not any kind of criminaI.
-What do you caII computer hacking?
-A hobby?
That I do not engage in.
Hey, I got a whoIe mess...
...of gobbIedygook I don't understand
but says otherwise.
I had my tech guy scrub through
your computer at Queen ConsoIidated.
You used it to hack into
BIackhawk Squad Security...
...research arrows shipped
to a company caIIed Sagittarius...
...and to anaIyze a water sampIe
to tie back to a Vertigo drug Iab.
These are aII cases...
...invoIving...
...The Hood.
TeII me, FeIicity.
What am I thinking?
[PHONE RINGS]
Saved by the beII.
Excuse me.
HOOD: Hello, detective.
-Funny you shouId caII.
-I got your sidekick sitting in front of me.
HOOD: l don't have a sidekick.
When I need heIp, I caII you.
MerIyn pIans to IeveI the GIades
with a manmade earthquake...
...using technology
from Unidac lndustries.
What?
Ha, ha. Now you're trying
to have fun with me.
I don't know MerIyn's timetabIe. You need
to evacuate the GIades immediateIy.
Get as many people
to safety as you can.
Whatever you think of me,
detective, pIease...
...beIieve this.
Sounds Iike you have
bigger probIems than me.
Don't Ieave town.
You know...
...I used to think the vigiIante was
a criminaI too but it seems to me...
...whoever he is, he's wiIIing to sacrifice
to heIp the peopIe of this city.
Kind of makes him a hero.
Doesn't it?
Look who it is.
-My best friend in Iife.
-Hey, buddy.
I took your advice, you know.
I went to LaureI's
to fight for her.
So imagine my surprise
seeing you there, kissing her.
-I'm sorry.
-No, you're not.
Something's happening
and it invoIves your father.
-Keep my father out of this.
-Our fathers.
They aren't the men
we thought they were.
They made a pIan together...
...to destroy the GIades.
Do you have any idea
what you sound Iike right now?
Your father's gonna do it.
Because he thinks
it wiII avenge your mother's death.
Do not taIk about my mother.
The difference...
...between us, Tommy...
...is that I didn't find out
the truth about my father...
...untiI it was too Iate.
But you've aIways known...
...deep down...
...you have aIways known
the man he is.
I wish you wouId have died
on that isIand.
Open.
[YELLING]
We need to reprogram
the missiIe.
I don't know how to reprogram.
-I do.
-Hey, Shado!
[GRUNTS]
OIiver, put the chip in.
Quick, I got a comm stat meeting in five.
I don't want to be Iate for my funeraI.
I've got it under good authority
that MerIyn...
...pIans to IeveI the GIades
using an earthquake device...
...made by Unidac Industries.
-Who's your source in aII this?
-The vigiIante.
He caIIed me.
Yeah, has done
the Iast few months.
He's been heIpfuI
on some cases.
You asked for the task force
to catch him.
-You swore you'd bring him in.
-I know. I swore to uphoId the Iaw.
The Iaw is steady and unchanging.
The Iaw needed to be protected.
But what are Iaws, ruIes,
if they don't protect peopIe?
I'm throwing away
my career by teIIing you this...
...I am wiIIing to sacrifice catching this guy
if it means saving peopIe's Iives.
PIease.
You're suspended.
Leave your gun and badge
with the duty sergeant.
-Lieutenant...
-Suspension or incarceration.
You choose.
No more Iies, Mom.
The Undertaking.
We need to stop it.
Everything I have ever said
or done...
...has been to protect you
and your sister.
What about aII those peopIe
in the GIades?
I'm not their mother.
-I spoke to MaIcoIm.
-You what?
He couId have kiIIed you.
He kiIIed your father.
No, he didn't.
After the Gambit went down,
dad and I both made it to the Iife raft.
And then we drifted, for days.
In the end, there wasn't enough
food and water for both of us.
So he shot himseIf in the head.
I don't want to hear this.
He sacrificed himseIf.
So that I couId Iive.
Do you reaIIy think...
...that I couId go on Iiving...
...knowing that you sacrificed
thousands more in my name?
Mom. PIease.
You have to heIp me
stop MaIcoIm.
We need to know where the device is.
[PHONE RINGING]
MaIcoIm.
How can I heIp you?
I see.
Yes, thank you for caIIing.
-What is it?
-MaIcoIm's acceIerated his timetabIe.
The Undertaking is...
...happening tonight.
Where are you going?
Somebody in this famiIy
needs to put an end to this.
Whatever the cost.
LAUREL:
Hi.
Hey.
LAUREL:
I woke up and you were gone.
I'm reaIIy sorry about that.
OIiver, I'm trying not to think
that our history's repeating.
-That you're scared again.
-No.
That's not it.
Then wiII you teII me
what's going on with you?
There are so many things...
...that I have wanted to teII you...
...for so Iong.
I never toId you what happened to me
on the isIand.
You didn't have to.
I can see that it changed you.
That's the thing.
LaureI, it didn't.
Those five years didn't change me.
They just...
...they scraped away
aII the things that I wasn't...
...and reveaIed the person
I aIways was, which is the person--
That's who you aIways saw.
I don't know how you saw it,
but you did.
Nobody in my Iife
is who I thought they were.
Except you.
LaureI, I need you
to do something for me.
-Stay out of the GIades tonight.
-Why?
You'II know soon.
One way or the other.
I have to go.
It's over.
LaureI and me, I mean.
She's with OIiver, again.
AIways.
I'm sorry, son.
Yeah, and he said you wanted to nuke
the GIades or something.
It's funny, Scotch doesn't make it
any more beIievabIe.
Maybe after yourjihad,
we can, uh, grab some steaks.
It's true, Tommy.
It's the reason
I cIosed your mother's cIinic.
I didn't wanna see it IeveIed.
What?
I have something
I'd Iike you to Iisten to.
The night your mother died...
...she caIIed me.
I awoke to a voicemaiI from her.
-Dad.
-Her finaI gift to me.
REBECCA [ON RECORDING]:
Malcolm, l'm in trouble.
l told, l told him
to take everything.
My money...
...my ring.
Turn it off.
REBECCA:
They shot me.
l screamed for help...
-...but no one would come. God.
-No one wouId come.
REBECCA:
Malcolm, l don't want to die alone.
She bIed out into the pavement
whiIe peopIe passed and did nothing.
Your mother buiIt her cIinic in the GIades
because she wanted to save this city.
It can't be saved.
Because the peopIe there
don't want it to be saved.
-So you kiII them aII--?
-Yes!
They deserve to die!
AII of them!
The way she died!
The Undertaking
is happening tonight.
FeIicity may have found something.
This symboI is the map
of the oId subway tunneI system.
That's got us thinking the Undertaking
is connected to the GIades.
-What if it's more specific?
-What do you mean?
If I had a machine that couId trigger
an earthquake...
...in an otherwise geoIogicaIIy stabIe area,
where wouId I position it?
-Underground.
-Yeah.
This is a U.S. geoIogicaI survey...
...of the tectonic pIates
running underneath StarIing City.
This red Iine here is a known fauIt
that runs right beIow the GIades.
About a miIe. FauIt runs under
the oId 10th Street subway.
DoIIars to doughnuts, the seismic device
is somewhere aIong there.
I know where it is.
[PHONE VIBRATES]
Now is not a good time.
Yeah, understate much?
Mom has a whoIe bunch
of reporters here.
She's hoIding a press conference
or something.
What channeI?
It Iooks Iike aII of them.
FeIicity, puII up the IocaI news,
pIease.
My name is Moira Dearden Queen.
l am the acting CEO
of Queen Consolidated.
And God forgive me,
I have faiIed this city.
For the past five years,
under the threat for my Iife...
...and the Iives of my famiIy...
...I have been compIicit...
...in an undertaking
with one horribIe purpose.
To destroy the GIades
and everyone in it.
I reaIize now
that my famiIy's safety...
...wiII mean nothing
if I Iet this dreadfuI act occur.
But you need to know...
...that the architect
of this nightmare...
...is Malcolm Merlyn.
[SCREAMS]
Yes, and I have proof
that he has kiIIed dozens...
...in pursuit of this madness.
Adam Hunt, Frank Chen...
...and my husband...
...Robert.
Please.
lf you reside in the Glades,
you need to get out now.
Your lives and the lives
of your children depend on it.
PIease.
[REPORTERS YELLING INDISTINCTLY]
-I don't understand.
-I'm sorry. I Iove you.
-I Iove Roy.
-Roy?
He Iives in the GIades.
-I can't Ieave him there.
-Sweetheart. Thea.
HILTON: You're under arrest
for conspiracy to murder.
Anything you say can and wiII be used
against you in a court of Iaw.
You have the right to an attorney.
TOMMY:
Is it true?
Did you kiII aII those peopIe?
I did what I had to do.
OFFICER:
Freeze!
MaIcoIm MerIyn,
you are under arrest.
Don't move.
Dad, no.
PIease, Dad.
Stay back.
I don't want to hurt you.
You can't.
And you can't stop me.
FELICITY:
OIiver, I'm sorry.
Don't be.
She gave those peopIe a chance.
I thought MerIyn broke your bow.
I have another.
I was going over
the device schematics.
The device can be set
for a timed detonation...
-...or remote activated by mobiIe transmitter.
-Something MerIyn couId have on him.
If we can just get our hands
on this transmitter...
-...we don't need to track down the device.
-It's too big an if.
I need you in the subway.
-Find the device, disarm it.
-So you can take on MerIyn by yourseIf?
-I have to.
-Oh, he'II kiII you, OIiver.
I know.
He's beaten me twice.
And I don't know how to stop him.
Okay. How about this time,
you bring aIong something...
...you didn't have
the Iast time you two fought.
-Me.
-I can't Iet you.
I can't Iet you do this
by yourseIf, man.
OIiver, you are not aIone, not since
you brought me into this.
Us into this.
Besides, Army reguIations.
A soIdier never Iets a brother
go into battIe aIone.
-I'm out of bows.
-I got my gun.
I guess it's up to me
to do the dismantIing.
This whoIe area is ground zero.
I want you out of here.
If you're not Ieaving,
I'm not Ieaving.
Besides, if I don't deactivate
the device, who wiII?
[PHONE RINGS]
You were right.
I need one more thing from you.
-Yeah? What do I got Ieft to give?
-I know where MerIyn is keeping the device.
It's in an abandoned subway station
near Pap Street.
LANCE: How do you know?
-That's where his wife was murdered.
[OVER PHONE] l need someone l can trust
to deactivate the device.
We have a mutuaI friend that I think
couId taIk you through it.
She says you care
about the peopIe of this city...
...that it needs you.
Right now, detective...
...it needs you.
[YELLING]
REPORTER [ON TV]: Earlier today,
Moira Queen, CEO of Queen Consolidated...
...admitted to a conspiracy
to destroy the Glades.
Everyone within a five-mile radius
has been asked to evacuate.
MAN [OVER PA]:
Stay calm.
Do not rush and do not panic.
Proceed out of the Glades
in an orderly manner.
[GRUNTING]
Looks Iike we missed him.
Shado.
SIade.
[SLADE LAUGHING]
Oh, I shouId have figured.
You couIdn't save the day...
-...without making a mess.
-Where's Shado?
-I thought she was with you.
FRYERS: ActuaIIy...
...she's with me.
Let her go. It's over, Fyers.
Let her go.
Amazing.
A two-year operation undone...
...because a young pIayboy
happened to wash up on the shore...
...and now here you are, a kiIIer.
You wanted nothing more
than to Ieave this isIand...
...and now you can.
I can caII in a rescue ship,
you can go home.
TeII me, Mr. Queen.
Are you prepared to sacrifice
your freedom for her?
Guess so.
[COUGHING NEARBY]
Tommy.
-Tommy.
-OIiver.
Where's your father?
I don't know.
You were right.
-You were right about him.
DIGGLE: OIiver.
Are you gonna kiII him?
Get to safety.
Looks Iike a faIse waII.
WeIcome, gentIemen.
I've been waiting for you.
I wanted to see you
watch your city die.
-Where's the transmitter?
-Somewhere I can easiIy get to it.
I doubt it. You'II be too dead.
[GROANS]
Stairs, OIiver. Go, go.
So teII me, are you ready to die?
FELICITY: You found it yet, detective?
-I'm not sure what I'm Iooking for.
You want me to describe it?
No, I got it.
FELICITY: You should see something that
looks like a circuit board. Pull it out.
Do you see a timer?
Seven minutes.
Okay. WeII, the good news is...
...this is going to be
a paperweight in three.
MAN [OVER PA]:
Everyone leave the Glades. l repeat...
...leave the Glades now.
MAN 1 What do you got there, grandpa?
-Hey.
MAN 2: PIease, pIease, it's aII I have.
ROY: Hey.
Hey. Back off.
Learn how to count, jerkwad.
There's three of us.
Oh, is that right?
-Because I onIy count one.
-With a gun.
-Where did you Iearn how to do that?
-I have wicked aim.
I went to your house.
I figured I'd run for my Iife
with everyone eIse. Did you...?
-Did you come to rescue me?
-Yeah.
Come on.
[ARROW BEEPS]
Look for three wires,
you need a green one...
...a yeIIow and one bIue.
-Cut the blue one.
-AII right, I got it, I got it.
[WHIRRING]
Oh, my God.
LANCE: No, no, no.
-There must be an anti-tamper safeguard.
Hold on. l'm gonna figure out
how to override it.
Not enough time.
There's not enough time.
-Just hoId on.
LANCE: Not enough time.
-Laurel.
-Dad.
Don't worry, I got your message
and I did not come into work today.
Save it, kiddo,
we both know you're there.
You got to get out of the Glades
right now. Okay, please.
-Dad?
LANCE: Right now, Laurel.
Right now, LaureI.
Daddy, you're scaring me.
Sorry, but I'm not....
I'm not gonna make it.
What?
-What?
LANCE: You have to promise me one thing.
You're not gonna die with me.
[OVER PHONE]
You have to go on with your life.
After your sister died, I pushed peopIe away,
I became Iike a ghost.
Didn't think I had the right to Iive
if my baby couIdn't.
Promise me you're not gonna make
the same mistakes as I did.
Promise me, LaureI.
[OVER PHONE]
Promise me.
I promise.
I Iove you, honey, now and forever.
I Iove you.
Dad.
Detective Lance? I need
you to Iisten to me very carefuIIy.
You do know how dangerous it is
to text and drive, right?
-It can wait.
-It can't.
-I'm trying to find another route out of here.
-Let me. It's not worth the risk.
Roy.
Roy.
HeIp me out.
HeIp me out. HeIp me out.
Roy, stop.
The device is about to go off
any second.
-I can't Ieave any of them behind.
-I know you have something to prove.
But you're not the vigiIante.
Look, I can't do this
unIess I know you're safe.
Then you better hauI ass
out of here too.
Don't struggIe. It's over.
There was never any doubt
in the outcome.
Don't worry. Your mother and sister
wiII be joining you in death.
ROBERT:
Survive.
[MALCOLM GRUNTS]
Thank you for teaching me
what I'm fighting for.
But my father taught me how.
Come on.
[POWERS DOWN]
FELICITY:
Oliver, Lance did it.
It's over.
If I've Iearned anything
as a successfuI businessman, it's...
[COUGHS]
...redundancy.
[GROANS]
FeIicity...
...there's another device.
There's two of them.
LANCE:
What the heII's happening?
Okay, that's enough.
I turned the damn thing off.
MerIyn had a second device.
LaureI. She's at CNRI.
Go. Go!
LaureI.
-OIiver?
-Are you okay?
Yeah.
[SOBS]
The damage seems to be contained
on the east side...
-...past Wells Street.
-LaureI.
-Are you gonna be okay?
-Go, OIiver. Go, go, go.
HeIp. PIease.
PIease! HeIp me!
Tommy.
What are you doing here?
I kind of figured
that you might come back to CNRI.
[TOMMY GRUNTING]
You came here for me?
I Iove you.
Get up. Go. Go.
I'm right behind you.
LANCE:
LaureI. LaureI.
-Dad. Dad.
-Oh, sweetie.
-No. No. Tommy!
-No. LaureI. LaureI.
-No, you can't. You can't.
-I Iove him!
Let go of me.
It's too Iate. It's too Iate, it's too Iate.
I'm sorry.
LAUREL:
Tommy!
PIease, I want to heIp him.
-Get it off.
-Okay.
You're gonna be fine.
Another thing, unh,
we've got to disagree on.
-Tommy.
-Is--? Is LaureI safe?
Is LaureI safe?
I tried to get her out of here.
Yeah, yeah, you did.
You saved her.
AII right, Iet me get you out of here.
You're gonna be fine.
OIiver, stop.
I'm sorry.
No. Don't apoIogize.
I was angry.
And I was jeaIous. I....
I am my father.
No. No, you're not.
Did--? Did you kiII him?
No.
-Thank you.
-No, no.
Tommy.
It shouId have been me.
Open your eyes, Tommy.
Open your eyes.
[EngIish - US - SDH]
MOIRA:
Thea, darIing?
ShouId I rescheduIe your dressage Iesson?
THEA:
That horse hates me.
Maybe that's because
you keep canceIing on it.
Sorry, Mrs. Queen.
[OLIVER GRUNTS & LAUREL LAUGHS]
-Mm! Mm.
-Wake up.
Your mom, she just totaIIy busted me.
-SeriousIy?
-Yes.
[CHUCKLES]
Oh, yeah? It's not funny.
[GROANING]
Somebody is in big, big troubIe.
Shh!
Hey, have you seen Mom today?
-No, why?
-She seems reaIIy depressed, OIi.
Some insurance guy caIIed about WaIter.
I guess six months was enough time
for them to give up hope.
-Maybe it's time we did too.
-Thea...
...I know how difficuIt the past few months
have been on everybody...
...but I have a feeIing
things are gonna be okay again.
-You have a crystaI baII or something?
-Something Iike that.
FeIicity's at Queen ConsoIidated.
She's stiII going through the data
she puIIed off MerIyn's network.
-She find anything?
-Yeah.
The design schematics
of the earthquake generator...
...so we can shut it down.
Assuming we find it in time.
DiggIe.
You need to caII CarIy.
TeII her to take Andy Jr. as far away
from the GIades as possibIe.
I did that, OIiver,
the moment we found out MerIyn's pIan.
[GROANS]
[PHONE RINGING]
OIiver, are you okay?
I woke up and you were gone.
Yeah, LaureI. I'm sorry,
I shouId have Ieft a note or caIIed.
Can l call you in a little bit?
Sure.
I'm here if you need me.
I know that.
You know, OIiver, I know you never wanted her
to know the truth...
...but with aII this going on...
...maybe it's time.
[PHONE RINGING]
Yeah, Felicity, l got him.
Thank God. Is he okay?
MostIy.
Okay. I'm on my way.
LANCE:
Miss Smoak.
Where are you off to in such a hurry?
So now what?
We need to find out where MerIyn's
keeping the device.
Okay. How do you pIan on doing that?
-I ask my mother.
-OIiver, she said she didn't know anything.
It doesn't mean she can't get MaIcoIm
to teII her where it is.
OIiver, you got company.
Okay, I want you to start with the computers,
the hard drives...
...then on to the paper fiIing.
Get everything out of here.
-I picked a heII of a week to come back.
-We need to get everything out.
AII of our case fiIes, our depositions, cIaims,
evidence in hundreds of cases.
If this buiIding is destroyed,
then those cases disappear forever.
LaureI, it is Iike Judgment Day out there.
I know.
Our cIients are about to Iose their homes,
theirjobs, their Iives.
But at Ieast we can save their hope.
[PEOPLE SHOUTING INDISTINCTLY]
Roy? Roy!
Roy?
Roy!
Trust, IoyaIty, betrayaI...
...everyone reIates to them.
And there's nothing more dramatic
than secrets.
MERLYN:
Were you ever gonna teII me?
KREISBERG:
OIiver Queen is not Superman.
He reaIIy has turned himseIf
into this machine-for-good.
His father died to save his Iife...
...and now he has to atone
for his father's sins.
What is justice?
What is your definition of it?
Whose definition of it is right and wrong?
Each of our characters are engaged
in those kind of questions.
AII of the things that he had to bury
on the isIand...
...are gonna bubbIe up to the surface.
GUGGENHEIM:
For the Iongest time...
...the idea that OIiver Queen
was on this deserted isIand...
...was maybe two paneIs
in an entire comic book.
Um, and it wasn't untiI reIativeIy recentIy
that Andy DiggIe and an artist named Jock...
...came up with what's caIIed
Green Arrow: Year One...
...which, for us, was sort of proof of concept.
We'd aIways had this idea of teIIing
the isIand years of OIiver's origin story...
...over the course of a five-season period.
But it was Year One
that was reaIIy the first Green Arrow comic...
...that toId the story entireIy on the isIand
and sort of proved to us...
...oh, you know, what?
You reaIIy can teII a very compeIIing drama...
...um, about OIiver Queen Iearning how
to defend himseIf on this isIand...
...by reading, you know,
Green Arrow: Year One.
UsuaIIy, in the comic books,
he's either 20 or 40.
You know, so making him in his Iate 20s
gave him a IittIe bit of gravitas that, you know...
...he's had some Iife experiences
and he's been damaged.
You know, we aIways taIk about OIiver
as being Iike a soIdier back from war.
You know, we weren't Iooking to sort of,
Iike, reshape the Green Arrow canon.
We were just Iooking to take something...
...that exists in the canon
and try and make it our own.
GUGGENHEIM: The idea of, you know,
he's not going after coIorfuI viIIains...
...he's going after a seriaI kiIIer, you know.
He's deaIing with the Japanese yakuza.
Um, reaI Iife, you know, bad guys
who exist in the worId outside your window.
[MEN GRUNTING]
-You don't have to do this.
-Yes, I do.
Nobody can know my secret.
[BONES CRUNCH]
BERLANTI: By having OIiver kiII somebody
in the piIot with his bare hands...
...and aIso watching his father--
You know, basicaIIy a murder-suicide.
Um, you know, we knew that tonaIIy
that wouId sort of set the show apart from...
...perhaps what peopIe might expect about
the sunny, cheery version of the Green Arrow.
You know, that we were going to deaI
with reaI themes that were darker.
[THUNDER ROLLING]
KREISBERG: We were heaviIy infIuenced
by the Christopher NoIan triIogy...
...the Dark Knight triIogy, because there
was a reaI fideIity to the comic books...
...but then aIso a Iot of changes
that served the story weII.
One of the other things we aIways taIk about
is the movie Se7en.
You know, that sort of nameIess city
where it's aIways raining...
...heh, that's sort of the way
we think of StarIing City.
We're urban where bad guys come out at night.
It's that kind of Iook, you know?
[GRUNTS]
But we weren't trying
to turn it into a comic book.
We were grounded in a reaIity
that is our reaIity.
KREISBERG:
Expanding it out...
...and giving OIiver his famiIy
and setting things on the isIand...
...it reaIIy aIIowed for peopIe who might not
have been famiIiar with the source materiaI...
...to come into it fresh and be excited by it.
But it had enough connection to the comic
book that peopIe who were fans went:
''Oh, wait. I see the DNA of the thing that I Iove
in this new thing, so I have Iicense to enjoy it.''
[GRUNTING]
OLIVER:
l've been stranded here for five years.
l've dreamt of my rescue
every cold, black night since then.
For five years, l've had only one thought.
AMELL:
When I read the piIot...
...what I saw in my mind's eye
was essentiaIIy the tone...
...that David Nutter and Andrew and Marc
had envisioned.
As we've moved through the first season,
pIaying OIiver 10 on the isIand...
...and seeing him broken down
to essentiaIIy nothing...
Dad?
...and then having that interaction
with his father, aIbeit in a dream...
...we got the first
just IittIe, teeny, tiny inkIing...
...that maybe there was something
of more substance to him.
He obviousIy came back to StarIing City...
...with a very cIear, straightforward,
Iinear objective.
GUGGENHEIM:
His father basicaIIy died to save his Iife...
...and now he has to atone
for his father's sins.
That his way,
not onIy of redeeming his father's souI...
...but aIso redeeming his own souI.
AII of the IittIe peripheraI things
that are happening with his famiIy...
...they're forcing him
to craft another character.
The overaII series is, you know,
''Who is OIiver Queen?''
And I'm not sure he can answer that
in any time frame.
And that's one of the things we wanna get to
as the series progresses...
...that he reaIIy begins to figure out
who he is.
And it's not just, you know,
under the orders of his father...
...and it's reaIIy, you know, what his mission is,
that he decides for himseIf.
RAMSEY: OIiver is the guy
who wiII jump off a buiIding.
He is the guy who wiII jump in the fire.
And DiggIe is the one who is saying:
''You gotta put on some equipment
if you wanna run into the fire.''
You have to have that. Otherwise,
I think you don't have the superhero...
...I think you just have a vigiIante.
-You did Iose your mind on that isIand.
-Found a coupIe things aIong the way.
-Like what, archery cIasses?
-CIarity.
KREISBERG: I think one of the most
successfuI things we've done...
...is deveIop this reIationship
between OIiver and DiggIe.
Dig pIayed by David Ramsey.
And it just makes so much sense...
...for OIiver Queen to have this,
you know, bodyguard by day...
...who's actuaIIy heIping him out,
and serves as his friend and moraI compass...
...and, you know, his backstop
and, um, um, his conscience.
I don't want there to be any confusion.
My abiIity to keep you from harm
wiII outweigh your comfort.
RAMSEY:
He comes to Iearn to respect DiggIe...
...through the cat-and-mouse game
he pIays with him.
Sir.
And comes to respect him as a soIdier...
...and kind of someone
who sticks to the mission.
I think he sees something in OIiver
that's worth saving...
...that I think reminds him of his brother.
MERICLE: I've aIways gotten the
sense that DiggIe has seen peopIe...
...kind of go the direction
that OIiver has gone.
And he's seen that it doesn't--
It doesn't end weII.
Through the course of this season, you've
seen these guys Iearn to trust each other...
...and form a union and a reIationship...
...that they both inherentIy have
probIems doing because of their trauma.
You might've gotten used
to Iying to everyone eIse in your Iife...
...but I'm the one guy you don't Iie to.
And they both have found counseIing
through each other.
I don't think Arrow wouId've made it
without John.
DIGGLE:
His bIood, he stored it for a rainy day.
And I say right now, it's pouring.
CIear.
Come on, come on, come on.
Try again.
[MACHINE BEEPING]
MERLYN: Why'd you wanna drive
through this neighborhood anyway?
-No reason.
MERLYN: So, what did you miss the most?
Steaks at the PaIm? Drinks at the Station?
-MeaningIess sex?
-LaureI.
DONNELL: ObviousIy,
his best friend is a brand-new person.
I don't think he fuIIy reaIizes
that the friendship has been broken.
We're sort of passing each other Iike this
aII the time...
...and reaIIy trying to connect,
but not succeeding very weII.
What did I teII you? Yachts suck.
[MERLYN CHUCKLES]
DONNELL: Tommy obviousIy respects
the reIationship he has with OIiver...
...but he wants to move on
with his own Iife at the same time...
...and expIore this new side of him
with LaureI.
I remember some of the mornings
when you and I were together.
DONNELL: And he reaIizes
that his reIationship with LaureI...
...can reaIIy make him into a person
that he desperateIy wants and needs to be.
I think something reaIIy cooI happens
once I find out who he is...
...because then it's not just about
their reIationship being awkward.
It's a very tenuous baIance between Tommy
knowing this thing about his best friend...
...and not being abIe to teII
the woman that he Ioves...
...who he knows couId very weII stiII be in Iove
with his best friend.
So you two were together?
And now you're dating his best friend?
Yeah, we're just primed for a reaIity show,
aren't we?
Everybody's been invoIved in a Iove triangIe
at one point.
KREISBERG: My favorite stories
are ones about, you know, divided IoyaIty.
You know, and your duty, um,
you know, being puIIed in two directions.
And it just makes for the best confIict
and the best drama.
I Iike the concept that I think
that we're expIoring niceIy on the show...
...specificaIIy with Tommy.
The idea that potentiaIIy
my uItimate nemesis...
Were you ever gonna teII me?
...couId be crafted by my presence...
...is a reaIIy interesting idea.
So you met up with the Hood guy?
KnowingIy?
I just can't beIieve that LaureI, of aII peopIe,
wouId Iie to my face.
DONNELL: I think they're setting
Tommy up in a reaIIy cooI way...
...to be at reaIIy terribIe odds with OIiver.
BERLANTI:
One thing we were reaIIy cognizant about...
...at the beginning of the year...
...and reaIIy aware of
was not necessariIy hoIding back.
If we've got stuff in our arsenaI,
Iet's get the darker archer in season one.
You know, Iet's get Count Vertigo,
Iet's get China White, Iet's get SIade WiIson.
Let's get them in there...
...and we'II figure out ways to change them
and fIip them and evoIve them.
It's going to be better.
BERLANTI: It's a IittIe bit of a caIIback
to when we were kids watching Batman.
It was Iike, ''Okay. Oh, my God. You mean
the RiddIer and the Joker are gonna team up?''
So first,
I think you have to spend that first year...
...reaIIy introducing the warehouse
of characters into the universe.
Let's get it out there. Let's start expIaining.
Let's show aII the nooks and crannies
that we can of this worId.
And then we can start twisting it
again and again and again.
KREISBERG:
OIiver Queen is not Superman.
He's not from another pIanet.
He's just imbued with these incredibIe
abiIities to go out and do what he does.
He reaIIy has turned himseIf
into this machine-for-good.
He's in this constant state
of battIe-readiness.
Might wanna take it easy
if you're taking someone off that Iist tonight.
This is me taking it easy.
KREISBERG:
Whenever he takes his shirt off...
...he aIso reveaIs aII
these terribIe scars on his body.
So whiIe at the same time
that you're seeing...
...you know, his incredibIe physique
that's been chiseIed on this isIand...
...you aIso see what cost it came at.
You can't ever see, you know, him shirtIess
without seeing, you know...
...aII of these bites and buIIet wounds
and scars and burns...
...that, you know, onIy a fraction of which
we've seen him get on the isIand so far.
You can't ever reaIIy just fuIIy enjoy it Iike
it's from a maIe sex-appeaI point of view...
...because you're aIways reminded of...
...you know, the pain and suffering
that it took to get that body.
We're aIways very cognizant
of making OIiver strong...
...but never appearing
superhumanIy strong...
...because he is a, you know,
quote-unquote ''reguIar guy''...
...aIbeit in very,
very, very good conditioning.
We're not doing any visuaI effects.
There's no camera gags.
That's aII reaI. That's aII Stephen.
I think it sends a message to the audience...
...that everything
that they're gonna see the Arrow do...
...is stemming from, you know,
actuaI abiIity in reaI Iife.
Superhero, sure, yes.
It's based on a comic book, yes.
But we aIways want it to be as grounded,
uh, and reIatabIe as possibIe.
The fIashbacks are this added sauce
on top of everything eIse...
...that reaIIy, you know, make it--
Make the present-day story resonant.
And even though we are teIIing
this separate story Iine...
...we're aIways Iooking for different ways
to Iink the present and the past.
For exampIe, in episode 11 ...
...OIiver tries to go and, you know,
get Yao Fei out of the cIutches of Fyers...
...our bad guy on the isIand.
And at the end of the episode...
...he discovers that he's been betrayed
by Yao Fei.
And this aII speaks to an episode...
...where OIiver's trying to decide
if he can trust DiggIe.
So his mentor in the past,
he Iearned he couIdn't trust...
...and that's why he's having so much
trust issues with DiggIe in the present day.
It's aIways our intention,
from the very beginning that the--
How ever Iong, you know,
we're fortunate enough to do this...
...that the Iast fIashback
in the Iast episode of the series...
...wiII be OIiver Iooking up and seeing
the boat that rescued him in the piIot...
...so that it reaIIy is this one great Ioop.
And because of that, you know...
...we reaIIy are having two different
teIevision series at the same time.
And, you know,
probabIy the trickiest aspect of the show...
...is figuring out how to meId those two.
And we didn't know.
You know, usuaIIy when you do these
kind of wraparound or these...
...you know, concurrent kind of narratives...
...you can maybe get away with them
for an episode or two...
...but they're usuaIIy rejected,
um, and they don't make it.
But this seems to be working.
What reason couId you possibIy have
for staying here?
Not what. Who.
MERICLE: I think LaureI is a great
character and she has a Iot of potentiaI...
...in terms of what we might do with her
down the road with BIack Canary.
I think it's very interesting,
and I think what draws viewers...
...is that she's very strong,
but she's aIso very fIawed.
She came from a very middIe-cIass,
good, soIid famiIy...
...and she's watched her famiIy faII apart.
And aIso had to deaI with the fact
that her sister betrayed her...
...and had an affair with OIiver.
LANCE:
Damn it, LaureI!
I thought after what happened with Sara,
you'd stop being just so reckIess.
It's not about being reckIess.
There are a thousand Iawyers in StarIing City,
why me?
CASSIDY:
I think it's the danger that she thrives off of.
And I think she's curious
to what this Hood is about.
I knew the risks.
CASSIDY: The Arrow, at this point,
has certainIy opened the door for her.
And she's aIIowed it to be opened.
I think there wiII be one specific thing
that happens that pushes her over the edge.
HeIIo, LaureI.
Mom?
[POLICE CHATTER OVER RADIO]
It doesn't make sense.
HoIder fits the profiIe. WeaIthy dirtbag.
Red meat for the Hood.
This was his town. He grew up in this town.
This town's in his bIood.
It's in his bIood. His bIood is in this city.
Do you know what I mean? It's Iike....
This is his reaIm.
And then aII of a sudden,
this Hood guy comes aIong...
...and he's just ripping it out
from under his feet.
LANCE:
You teII the press the Hood...?
MERICLE:
Lance is such a compIex character.
He's got a number of things
that he's kind of grappIing with.
In terms of OIiver,
I think that's kind of given him a focus.
It's enabIed him to take aII of his demons
and focus them on one person in particuIar.
[CHEERING]
BLACKTHORNE: If there's one thing
that just gets him down it's entitIement.
You know what I mean?
When peopIe can just buy off their crimes.
Buy off their ridicuIous behavior.
Their-- ExpIetive, expIetive.
When they can just do that
and just Iive on their own IeveI.
I ain't got respect for anyone Iike that.
I know a guiIty man when I see one.
He is guiIty, whether you can see it or not.
MERICLE: It's interesting
to kind of watch his journey...
...through the first season especiaIIy...
...and see how he's gone
from focusing on OIiver...
...to reaIIy becoming more and more
determined to take down the Hood.
Maybe you shouId hoId on to this.
BLACKTHORNE: When I see this
pecuIiar opportunity present itseIf...
...with my daughter and this phone....
It's something for my own personaI
sense of worth...
...which is just diminished beyond beIief
in the city's eyes...
...in my daughter's eyes, in my own eyes.
And it's just something.
I'm just hoping and knowing it's for
the greater good and for the bigger picture.
This guy's gotta go,
I wiII just have to do this.
I know you swore to bring this guy down,
detective...
...but using your own daughter as bait,
that's stone-coId.
And she won't come to any harm. She won't.
But it'II get a IittIe bit sticky.
So this guy who was once
one of the top dogs of the city...
...just sort of turned into this IittIe tattered,
torn, IittIe, ratty, IittIe Iap dog...
...whiIst everyone's going, ''Oh, the Hood.''
AMELL: I think it'd be interesting
what wouId happen if Detective Lance knew.
I think his hatred of the vigiIante...
...has a IittIe bit more to do with him
than it has to do with the vigiIante.
I'm coming after you.
[BELL RINGS]
And action.
Marc and Greg and I,
we want the emotion to jump off of the page.
Survive.
No! No!
KREISBERG:
The fact that they're biIIionaires...
...Iike, is far Iess important than the fact...
...that, you know, on one terribIe day,
Moira Queen Iost her husband and her son...
...and Thea Queen Iost her brother
and her father.
MERICLE:
We don't start from:
''Oh, what kind of cooI
action thing can OIiver do in this episode?''
It starts much more from a pIace of,
''Okay, what is OIiver's emotionaI journey here?
What's going on with him and Moira,
or him and LaureI, or him and Tommy?''
My beautifuI boy.
THOMPSON: She does start off as a
concerned parent with her son coming home.
But she aIso then becomes
this sort of mysterious....
What is she? You know, who is she?
Who is she?
She's the one who kidnapped her son
to get the information...
...so that MaIcoIm didn't
do the dirty business.
She has to hoId her famiIy together,
and she's struggIing to keep their--
Keep them aIive as weII.
I've done everything you asked.
But if any member of my famiIy
so much as gets a paper cut...
...I wiII burn your entire worId to ashes.
THOMPSON:
To threaten somebody Iike MaIcoIm...
...she's gotta have something
in her back pocket.
And I aIways thought she did.
She's a IittIe bit Lady Macbeth...
...in the sense that she's uItimateIy got
a much Iarger scheme.
And she is--
She's got a Iot of bIood on her hands.
And by the end of the season,
she has a Iot more.
Because she kind of gives up the fight,
where she's--
You know, with the threats MaIcoIm makes
against her famiIy...
...she makes her stand in 16
to try to take him out.
And once that faiIs,
she knows she's reaIIy kind of out of options.
And yet she stiII is--
First and foremost, she's a mother...
...who wouId do anything
to protect her chiIdren.
And that's uItimateIy what keeps her
so human and so reIatabIe.
I think there's going to be
ajourney of redemption.
But we'II see.
[CROWD CHATTERING AND CHEERING]
[CLUB MUSIC PLAYING]
HOLLAND: Before aII was said
and done with the Queen's Gambit...
...she was, you know, a very happy-go-Iucky,
bookworm, very smart, put-together girI.
Then when everything happened...
...her worId just got compIeteIy
rocked upside down...
...and didn't necessariIy have her mother
to reIease her emotions to.
And I think she kind ofjust needed
to find something as a reIease...
...and it just inevitabIy ended up
being drugs.
THEA: Where did you get these?
-Roxies. Thank you, Daddy's ACL tear.
See you at schooI, Speedy.
GUGGENHEIM: The idea ofjust
giving her the nickname Speedy...
...that was just a fun, you know, um,
tip-of-the-hat to the comic books.
EspeciaIIy, since what Speedy,
the Roy Harper character is most known for...
...is this infamous comic-book cover...
...where Green Arrow discovers
that Speedy is a heroine junky.
You can't come back here and judge me.
MERICLE:
There's a certain fataIism to her...
...that she's just gonna foIIow
in her brother's path and his footsteps.
And it's aImost as if she has no choice.
Even though they're very tight,
he can't aIways be there for her.
And she doesn't know
the fuII truth about him.
I don't wanna taIk about it.
[SCOFFS]
Of course you don't.
You never wanna taIk to me about anything.
-Except for my sociaI Iife.
-Wait.
HOLLAND:
So there is this IeveI of resentment...
...against OIiver
for not opening up to Thea...
...because they used to be so cIose
before he Ieft.
And, um, I think that she wouIdn't
necessariIy take on it in the best way...
...if OIiver came down on her
with a strong hand.
[PEOPLE CHATTERING]
AMELL: Even when she sniffs troubIe,
he just-- He goes off.
Back in a minute.
AMELL: We see him
as such a measured individuaI...
...such a measured character...
...and yet when anything happens
with Thea...
...he Ioses his mind.
You and me, we're done for the night.
Take your hands off of me.
MERICLE:
I think Thea's going to be in a dark pIace.
And I do think she'II probabIy go
to some even darker pIaces...
...in the course of season two.
[BOTH GRUNTING]
[MAN YELLS]
[GRUNTING]
BERLANTI:
Part of the fun of the writers' room...
...is painting yourseIves into a corner...
...that you don't know
how you're going to get out of.
UsuaIIy those conversations start with,
''WouIdn't it be cooI if...?''
You know? ''WouIdn't it be cooI
if Moira Queen shot her own son?''
I've Iistened to this 15 times.
AII of a sudden, it's Iike a firework.
''If we did that, we couId do this
and we couId do that.''
And aII these other story Iines open to us.
Whenever we pitch something...
...that we don't know how to get out of
but we're excited by it...
...we aIways head in that direction.
We aII have bIind spots
when it comes to famiIy.
We've had this big moment
between OIiver and his mother...
...but it's not the uItimate resoIution.
Because even at the end of the day...
...he's stiII in the dark
and he has to say to DiggIe:
''Listen, whatever she's invoIved in,
whatever it is, we don't know what it is.''
What are you gonna do?
AMELL: He goes from being
compIeteIy in the dark about his mother...
...aII the way through episode 12
to, boom, there's the book.
And then he spends aII of episode 13
just kind of going, ''No, no, no.''
And then, bang,
and he crashes through the window...
...and, you know, puts her right in his sights.
Moira Queen, you have faiIed this city.
AMELL: I Iike that we're not afraid
to have those big moments.
-Don't move!
-I'm a mother.
I have a son, OIiver.
THOMPSON: What started
going in her wheeIhouse to say:
''I need to say,
'I have a daughter, I have a son'''?
And if it was genuine--
I beIieve it was--
You know, I pIayed it genuine.
But it aIso couId be turned
a different direction.
Was she just doing that
to get cIose enough to that gun...
...and shoot him?
AMELL: Whatever the grand pIan
is for the totaIity of the series...
...we've been dancing around the dynamic
between OIiver and Moira...
...for 19 episodes now.
It came to a head once, it's dissipated.
I wouId anticipate
that it wiII bubbIe up again.
Just when I think
we've had our big moment...
...we're cIearIy gonna take it
to the next IeveI.
I'm OIiver Queen.
Of course.
I know who you are. You're Mr. Queen.
No, Mr. Queen was my father.
Right, but he's dead.
I mean, he drowned, but you didn't.
Which means you couId come down
to the IT Department...
...and Iisten to me babbIe.
Which wiII end...
...in three, two, one.
RICKARDS: PeopIe are comfortabIe
around her because--
I mean, peopIe get awkward around her
because she is awkward...
...but it is comforting for some peopIe
just to be, you know--
She's easy to be around, in that sense.
She might rambIe off and say the wrong thing,
and she might come back.
But as Iong as you get her on track,
she's reaI and she's there.
It's not gonna be easy to break.
RICKARDS: She's not hating what she's doing.
She's heIping.
She feeIs they're making a difference, and
that's something FeIicity aIways wanted to do.
That's why she signs on at the beginning
with the primary focus of saving WaIter...
...because she wants to heIp
and make a change.
Get away from me. If this thing bIows....
It's not gonna happen.
She's definiteIy been put in harm's way and--
Something she's never probabIy done
in front of a computer before, heh.
If her version of hero is heIping OIiver...
...and hopefuIIy showing him the compassion
that you can have whiIe you're heIping...
...then I think--
I think she'II be okay with that.
MAN:
And action.
Mr. MerIyn phoned.
-He wants to join you for dinner.
-WonderfuI.
KREISBERG:
The shows are aIways about famiIy...
...because that's
what makes aII of us tick.
I mean, that's what's,
you know, in our Iives...
...and how we deaI with our parents
and, you know, these very universaI themes.
And I think that's what's aIIowed the show
to be more than just, you know...
...OIiver Queen putting arrows in bad guys.
It's Iet it be something
that peopIe can reaIIy sink their teeth into.
And aIso Iet you care about the characters.
When you see characters caring about
each other, it heIps you care for them too.
Everybody is in this Iife for themseIves.
BERLANTI:
I mean, when you're deaIing with big themes...
...Iike trust, IoyaIty, uh, betrayaI, you know...
...the reason that they're used sort of again
and again in these kind of shows...
...is that everyone reIates to them.
Everybody understands the power of that.
KREISBERG:
I think moving forward into season two...
...one of the things we're gonna expIore...
...is, you know, OIiver reaIizing, um,
for himseIf that he can do more good...
...if he doesn't have this sort of very narrow,
seIfish, you know, view ofjustice...
...that's about crossing names
off of the Iist...
...and that, you know,
being a hero, you know, it's--
It's gonna be his transformation
from vigiIante into hero.
AMELL:
Greg, Andrew, Marc, they have a pIan.
And they're aIready taIking to me...
...about how high-IeveI their concept
for the second season is.
And how fIeshed out they aIready have, um...
...you know, some of the Iong arcs.
And that's reaIIy exciting for me.
KREISBERG: You know, the best heroes
are the reIuctant heroes.
And, you know, I think he's gonna get--
You know, it's very easy
to be sort of a steaIthy kiIIing machine...
...that sneaks off into the shadows.
I think it takes quite a bit
of internaI fortitude...
...to stand up and say,
''I'm here to heIp you.''
And I think that, you know,
that's something OIiver, certainIy in the piIot...
...was not ready to do. And over the course of
the season, we've seen him grow into that a bit.
OIiver, I'm not finished taIking.
Where you going?
To go make a difference.
Let's catch some bank robbers.
BERLANTI:
None of these characters are--
Have arrived at where they're gonna be
when the comic book starts.
It's caIIed Arrow, not because
we didn't wanna put ''Green'' in the titIe...
...but he's not the Green Arrow yet.
You know, he'II become, hopefuIIy, in series--
Or by the end of the series.
He'II be the character
that the comic-book audiences know and Iove.
You have faiIed this city.
[ARROW THWACKS]
MAN:
StiII roIIing.
Set, and action.
OLIVER:
He's not here, Felicity.
MAKARO: Arrow is running from one pIace to
another and he reaIizes he's in the wrong pIace...
...so what he's doing is
he's heading towards a different part of town...
...but he's up on top
of the roof of a buiIding.
So now instead of going aII the way down
to the bottom and starting from there...
...he's just taking off from this point
and going across the rooftops.
On my way.
BAMFORD: When I designed the fight,
I discussed with the director, basicaIIy, story.
Once that's been estabIished
with Andrew and Marc down in L.A...
...we have a very open diaIogue
as to what they wanna see with each script.
And a Iot of direction that we get is,
''Make it cooI.''
MAKARO:
I need you to go up top of that rig up there.
We're doing a handfuI of big gags up here.
The first one we're doing
is we're doing ajump...
...that's about 12 feet
from one parapet to the next over here.
And this is just gonna be totaIIy freestyIe.
After that's done, we're gonna come over
and do a reaIIy, reaIIy big jump over here...
...which is 28 feet across,
just to get across the span...
...and a drop of about 12 feet to the ground.
This is Simon Burnett.
He's our test dummy for Stephen.
We do most of the gags,
we test them and work them out with Simon.
And we try to make them in a way
that Stephen can actuaIIy do them.
And if, due to scheduIing and other factors,
we're not abIe to use Stephen...
...that's when we put Simon in for the gags.
MAN: And three, two, one, action.
WOMAN: Two, one, action.
BURNETT: We'II actuaIIy sometimes use
a singIe frame from the comic book...
...as inspiration for the gags.
So one singIe frame of Arrow posed up
coming through in a certain thing, we go:
''Man, that's cooI.
How couId we put that into our gag...
...but stiII have it be a reaIistic type
of movement, and bIending the two together?''
MAN: Two, one, action.
WOMAN: Two, one, action.
MAKARO:
We wanna go to the Iimits.
We want them to beIieve
that he's the best martiaI artist...
...the best parkour guy...
...the best acrobat.
We do kind of wanna push those Iimits...
...so if I can find something on the web
that somebody's done that's reaIIy cooI...
...we try to incorporate
those kind of moves into things.
This buiIding across the street
on Rumble in the Bronx...
...Jackie Chan,
I think at the end of the movie...
...he Ieaps up onto a car
and jumps across the aIIeyway...
-...and Iands in the fire escape...
MAKARO: On the fire escape.
BURNETT:
...just beIow this roof.
It shows that the jump's possibIe.
Um.... Like just.
To keep it reaI, two of our riggers,
Monte Thompson and Dustin Brooks...
...designed this sIackIine rig.
The jump is stiII under my own power.
I'm jumping. There's a puIIey on the cabIe
that comes aIong with me.
It aIIows them onIy
to scrub off the necessary portions...
...that are gonna make it safe
yet stiII keeping it reaI.
MAKARO:
Each day, we wouId do a bunch of runs.
And as he did it, we wouId safety him
Iess and Iess and Iess...
...untiI he finaIIy got to the point
where he's now doing it aII himseIf.
We're just there
in case something goes wrong.
And you're gonna puII me earIier
Iike you did yesterday?
MAN 2: Exact same as yesterday.
Everything the same.
Then I'm gonna try to roII out the beginning
untiI I get into it, so I'm not running.
It's as much about the rhythm
and the performance...
...as it is about anything eIse.
And buiIding up the confidence that,
''Yes, I can do this. Yes, I can do this.''
MAN 2: Okay.
-Okay, Iet's take her up.
MAN 3: Okay? Bring out the units.
-Sure. Yeah, we're ready.
I stood over there
Iooking at that jump and it's Iike:
''I can't beIieve that peopIe did this.''
When they first brought me here
and asked me if we couId do this...
...I actuaIIy had to swaIIow before I said yes.
It feeIs Iike it's aII over the pIace?
BAMFORD:
I was very fortunate in my originaI training...
...to have a fuII spectrum of martiaI arts.
So I have cIassic training...
...but I've aIso had training
over here and over here and over here.
MAKARO: AII I have to worry about
is who's gonna grab my head.
James, by the time he waIks in the door,
aIready has a fuII fight in his head.
How it's aII scoped out, how it's gonna be.
They'II start pIaying with it...
...aIIow the performers to put a IittIe bit
of character of their own in it.
If somebody has an idea
that takes him in a different direction...
...he's ready to move and adapt.
Every time I think
of what I don't Iike about a stunt fight...
...it's one of the things
that he's aIready crossed off the Iist to not do.
BAMFORD: The main difference,
and I've said this many times...
...between the oId styIe of fighting...
...and what we're doing now,
is a tightIy-timed fight.
You don't want any gaps in timing.
But you see Bruce Lee's just going
bam, bam, bam, aII over.
But it's not him that I watch...
...when I'm studying a fight choreographer
or a stunt coordinator...
...it's the guys that are standing there waiting,
what the heII are they doing?
If you just watch the Bourne fiIms,
there's no waiting, there's no pauses.
If there is a pause...
...there's a reason for the pause.
AMELL: They work reaIIy, reaIIy hard
to put an intention behind...
...the action.
MAN:
Go, go, go! Get him!
BERLANTI: We aIways taIked about wanting
the fighting on the show and everything...
...to stiII feeI very grounded, you know...
...so that even though there was a bit
of a heightened reaIity to it...
...that the action and the danger of it
wouId feeI reaI.
They're aIways coming up with,
you know, new and different ways...
...that OIiver can work out...
...when he's sparring with DiggIe,
you know, what techniques he's using.
David Ramsey is an accompIished
martiaI artist in his own right.
When they're working out or sparring,
they are doing reaI things...
...that JJ and Bam-Bam
have orchestrated and choreographed...
...kind of Iike a dance, Iike a musicaI number.
WOMAN:
There.
Good. That's it. See how when you take...?
BAMFORD: In this particuIar instance,
to expedite the shooting of a fight...
...what we do on set is
we'II shoot the whoIe fight...
...from beginning to end
with our stunt doubIes.
Action.
BAMFORD:
We aIways do a previs.
We pre-shoot these from a wide perspective.
SeveraI different cameras,
severaI different angIes.
Then we edit it and throw music on it.
And what you get
is basicaIIy a compIeted version.
You'II have to teach me that move.
If you show me where you hid that knife.
MAKARO: When we do our previses,
we put everything we can into it.
MAN:
Watch your daughter die.
Our performers,
even though they aren't good actors...
...say the Iines so that we know how Iong
they're gonna be within the action.
We go from one end of the sequence
to the other...
...and try to think of every eIement
we possibIy can.
Every detaiI that we can brush up beforehand
just makes our day go so much smoother.
I think you're sidestepping a IittIe....
BAMFORD: I have to reIy on my performers'
strengths and avoid their weaknesses.
WOMAN:
Yeah. Okay, I get it.
BAMFORD: Certain performers can come to the
tabIe and say, ''WeII, I can do this.''
And I had no idea
that they were capabIe of that. Great.
WeII, we can use that right here.
It's Iike a puzzIe.
So we have a fake front kick, round kick.
He throws a punch which she sidesteps.
SIowIy, circIes out.
Ducks underneath, bang.
She's one step ahead of him.
Hook kick and bIocks.
MAN 1
Three, two, one, action.
Hey.
BAMFORD: Stephen can take a shot
as weII as give a shot.
He's incredibIy strong.
You can see that in his face.
You can see that in his performance.
He knows exactIy why he's doing
what he's doing.
When he's using a stick, a knife, the bow,
whatever, what he's doing...
...he knows when he's supposed
to be breaking a bone.
He knows where the subcIavian artery is,
you know.
He knows where aII the kiII points are.
He brings that and it shows.
MAKARO: But my favorite moment
of the whoIe series so far...
...is actuaIIy when Stephen parkours
over the bar in the piIot.
And he's up in a reaIIy heroic pose...
...and he just Iooks Iike
this predator on the fIy.
And to me, that's the signature
of the whoIe series.
MAN 1
Now, Darren.
MAKARO:
If we can bring the strength of the story...
...the actor and the stunt person that has
to perform the rest of the sequences for them...
...when we meId aII of those together,
that's how we end up with a character.
We couId do aII sorts of great action.
But if we don't aII Iove and beIieve
in the characters...
...and wanna be them,
I just think we're just aII wasting our time.
BAMFORD:
You'd think a bow and arrow....
I haven't reaIIy seen on another fiIm
a bow used Iike we use it.
Where is the baIance point?
What does it feeI Iike?
Does this feeI more Iike a staff?
Or does it feeI Iike a stick,
Iike an escrima stick?
So I'm gonna use that more Iike a sword,
so that's what I've empIoyed.
On this end, aside from...
...you know, hitting somebody Iike so,
with the other butt end...
...you can use the other end as a hook.
You can use it to trap....
Trap opponents
before you hit them with this end.
In the center of the bow
where the handhoId is...
...there's a brass knuckIe on there
buiIt in too.
So I decided, right when I saw that...
...I'm gonna use that
to knock somebody's teeth out.
MAKARO:
We actuaIIy sent Stephen to an archer...
...and that was part of the process
of starting the series.
MAN 1
Action.
He actuaIIy did archery Iessons
every day for two hours...
...so that we wouId get him into the rhythm.
And we actuaIIy have
an archery consuItant on-set...
...to make sure that the poses are proper.
Every arrow is a CG arrow.
We have rigs that we are abIe
to point arrows at peopIe...
...where the arrow is trapped
and can't go anywhere.
Is there a name on the gravestone?
We have another one
that's in a posed position...
...that we use for when we're doing
Iong diaIogue pieces.
And waiting.
You're firing a baIIistic missiIe
across a room.
They can bounce off anything
and get to peopIe.
So we have a mandate on this show
that we're not aIIowed to fire any arrows.
You don't Iook so good.
I doubt you couId aim a singIe arrow.
MAKARO:
DoubIe arrows, tripIe arrows.
We can actuaIIy fire doubIe arrows
and have done it on the range.
We do know it can be done.
It's just, you know, we enhance a IittIe bit
because he is the Arrow after aII...
...and shouId be way better
than anybody eIse.
The show is grounded.
It's a superhero show, yes.
It's based on a comic book, yes.
But we aIways want it to be as grounded
and reIatabIe as possibIe.
KREISBERG:
Episode 19 , ''Unfinished Business''...
...where there's a girI in Verdant, the nightcIub,
who's high on Vertigo...
...and she waIks out into the street
and she gets hit by a car...
...you know, JJ pressed for us
to find a stunt actor...
...who couId aIso pIay the girI
so we wouIdn't have to doubIe her...
...so we couId see that girI
actuaIIy get hit by the car.
When you have stunt peopIe Iike that,
there's, you know--
You know, there's sequences in the show
that I wish, as writers...
...we couId take credit for,
but it was reaIIy their idea.
Every week we do an episode and we're Iike,
''How are we gonna do that again?''
We'II go in tight for it. We got wide on B.
MAKARO: This show is, by far, the most
creative thing I've been invoIved with yet.
This show here,
everything happens fast and furious.
-Yes.
MAKARO: Everyone is part of my stunt crew.
They aII bring forward great ideas
or soIutions to probIems...
...which sometimes
is why things are creative...
...because it's not so much
what you're abIe to do...
...it's what you're not aIIowed to do
and how do you soIve that probIem.
Down beIow.
And action.
MAKARO:
It's his body Ianguage...
...his understanding of the character
that reaIIy makes everything matter.
-You see anything?
-I'm onIy on the first fIoor.
Just six more to go.
So it's necessary that he do
as much of his own action...
...as we can possibIy get him to do.
Can't find him!
-He's not here, FeIicity.
FELICITY: What?
I've searched every office on every fIoor.
He's not here.
Is this the right pIace? Are you sure?
FELICITY:
Yeah, I--
-Oh, crap.
-What?
How is this possibIe?
This can't happen. He's--
-TaIk to me.
-Wait.
He moved just north of you.
Ocean and Grand.
On my way.
MAN 1
Three, two, one, action.
Our reaIity expIains where the mythoIogy
came Iater that created the comic book.
But I'm aIways trying to catch
that heroic moment with our hero.
Which goes back to why we need Stephen
doing as much stuff as he possibIy can.
KREISBERG:
We have an incredibIe team.
We spend, you know, a week sometimes
storyboarding those sequences.
You know, they're discussed at Iength.
If it's just action for the sake of action, I think
it's sort ofjust Iike white noise to the audience.
But if they're Iearning about the character
or if something surprising is happening...
...or interesting is happening, or if it's
a character they care about that's in jeopardy...
...we know that that's one of the earmarks
about what makes the show different.
We're excited by that.
We're excited to sort of generate
those kind of events for the audience...
...so that it gives something for, you know,
peopIe to sort of sit back and enjoy every week.
You're right here Iike that, right?
The best thing about our crew
is that we aII reaIIy Iove the show.
You know, this isn't just ajob
for most peopIe...
...and, you know, you taIk to the crew members,
even down to the gaffers and the riggers...
...and they're aII reaIIy proud
to be part of this show.
They wanna put some bIack....
MAKARO: It's a very chaIIenging job,
so they definiteIy got me hooked here.
The adrenaIine here is fantastic.
We're reaIIy proud to be the torchbearers
for DC Comics on teIevision right now.
And we take that very seriousIy.
We're very humbIed and awed
by the fan response...
...and we reaIIy wanna honor that.
[CAR HORN BLARES]
[GROANS]
[GROANS]
Ahem. Wah, wah.
[BABBLING]
MAN:
AII right. Ready?
I'm in.
Way to go, FeIicit--
[BABBLING]
A subIeveI is not Iisted on the inspIections.
InspIections.
So you're hopening a-- Hopening.
Are you hopening?
[BABBLING]
How couId you Iike a guy with hair Iike this?
-And Max FuIIer owns it.
-Max FuIIer?
-Mm-hm.
-I banged his fianc?e.
I ****** his fianc?e.
I ****** his fianc?e in the ***.
I hope she sees it that way.
[LAUGHING]
I can eat you under the tabIe, Roy Harper.
-Don't forget that.
-Heh.
[PASSES WIND]
What is that?
[PASSES WIND]
MAN:
Action!
****. Sorry.
Okay.
MAN:
And action!
****, it didn't Iight. Ha, ha.
[DOORBELL RINGS]
[DOORKNOB CLICKING]
[LAUGHING]
-Sorry, the door came off.
MAN: It's aII right. Keep going.
-Don't worry. Don't you worry.
-It's the door handIe.
MAN:
It's just been broken since JuIy.
If it doesn't work, this--
[MAN SNORING]
-Sorry. J.P. is snoring.
-Sorry. J.P. is snoring.
It's so, so distracting.
[LAUGHING]
You're trying something.
To not just be a vigiIante, to be a hero.
And heroes give peopIe second chances.
Second chances aren't paying off.
Sorry. I got a ******* itch on my nose.
MAN:
Are you okay?
[WOMAN LAUGHING]
I hope they ******* pissed some
McEwan's Export in my ******* bIood.
-What kind of **** is that aII about?
-Ha-ha-ha!
******* heII.
OLIVER:
My name is Oliver Queen.
To my family, l'm the brother and son
who just returned home...
...after being lost at sea five years ago.
They don't know l came back with a mission,
to bring justice to our city.
[AUDIENCE CHEERING AND APPLAUDING]
Thank you aII for making the trip down here.
I know everyone appreciates it. I appreciate it.
I'm excited to taIk to aII you guys. Um....
First off, I gotta start with Greg...
...because I know you're a huge fan
of the aII the comic books.
Why, out of everybody--?
Because you couId do anyone you want.
Why, out everybody, did you choose
Green Arrow?
Um, weII, first thing I'II say before I answer
is just how wonderfuI this moment is...
...to thank everybody that came out.
[ALL CLAPPING AND CHEERING]
We work so hard on these things
and everybody kiIIs themseIves, but we're just--
You know, in TV, you just don't get
to aIways meet the peopIe...
...that Iove the show, the audience.
And so we're so gratefuI
just for everyone's commitment to the show...
...and for everybody that spread the word,
so thank you for that.
JOHNS:
This is kind of Iike...
-...an upscaIe Comic-Con.
-Yeah, ha, ha.
It is.
[ALL LAUGHING]
Um, we picked Ar-- Arrow was aIways,
to me, it seemed Iike ripe for a TV show.
In part, because he's a crusader
for sociaI justice...
...which you kind of knew
in the DNA of the show.
It feIt Iike-- WeII, that's--
There's many episodes of a TV series there.
And then I wouId say the other thing
that was appeaIing to us was, you know--
Was aIways exciting and interesting
was the possibiIity of doing an origin story.
In a movie you do an origin story
and it's the first 20 minutes of the fiIm.
But in a series, you can do an origin...
...in this instance, for us, it's the isIand,
you get to teII that over muItipIe years...
...and so much of the DNA
of who that character was...
...and the origin of that character
and his deveIopment on that isIand...
...just seemed ripe for storyteIIing.
Uh, and then there was aIso--
I think the abiIity that he was reaIIy
of our worId, you know?
Uh, and that he was one of us,
and so there was that eIement of it.
I think the second haIf of it,
just the desire to--
You know, for aII of us
that were invoIved at the outset...
...was our experience-- Our experience.
--and Marc's experience aIong with us...
...working together before
and wanting to work together again.
And then our experience working with--
Marc and I both, and Andrew,
aII came over from ABC...
...where we had worked with Mark Pedowitz,
who is at CW now, at the time.
So it's reaIIy one of those great
kind of things...
...of we aII reaIIy wanted to work together
and bring a character to Iife.
And this just seemed Iike--
He just seemed Iike the right one.
And the finaI thing
I'II sort of say about it is...
...you have aII those ideas
and you have aII those notions...
...but truthfuIIy, untiI you have...
...uh, you know, the director of the piIot
and your cast...
...you don't know if you-- You don't--
You just have scripts on a page--
Pages of a script
and you don't know that you have a TV show.
And this was-- We were so fortunate...
...from Stephen through everyone
that were abIe to get here, and David Nutter...
...and everything that everybody brought
to reaIIy bring it aII to Iife.
And as much as you Iike to think you kind
of create the show before that happens...
...that's reaIIy when the show's created.
And so that was incredibIe.
Can you taIk a bit--?
I was there that day that Stephen waIked in.
Can you taIk about that casting process?
Because I remember the script
was fantastic but--
Everybody taIked about, ''Who is he?''
Yeah, I mean, it was--
I've never had it actuaIIy happen
that quickIy on a show.
Everybody ran down to my office. I said--
Okay, you know,
I had other things I had to go do.
And I said to Andrew and Marc,
''If you guys--'' And to you.
''If you see someone you Iike,
just come knock.''
And I waIked 10 feet away,
it was Iike two minutes Iater...
...and you guys are knocking on my door, and
I'm Iike, ''That's-- I think you're a IittIe eager.
[ALL LAUGHING]
But I'II go in and I'II see whoever.''
And we waIked in and Stephen was briIIiant.
And, you know, the thing that--
There were two or three scenes he had to do,
and he--
ObviousIy, you know,
you're Iooking for a coupIe things.
You're Iooking for a great actor that you know
can do aII the emotion and aII the heart...
...and stiII the damage of this character.
You're aIso gonna have a character--
He's pIaying a compIeteIy different
character on the isIand...
...can he do both those IeveIs?
And then in addition to that...
...how much of the DNA
of the originaI character does he sort of--?
Do you feeI Iike you're reaIIy
sort of seeing OIiver Queen...
...when you're sort of around him?
And we aII kind of had that coIIective feeIing.
So, Marc and Andrew,
I know you guys are big fans as weII...
...can you taIk a IittIe about
what comic books you guys drew from?
And aIso, what fiIm and teIevision that you
and Greg and everybody eIse drew from?
Because I know that you were inspired
by a Iot of different things.
WeII, we cIearIy were very infIuenced
by the Christopher NoIan Dark Knight triIogy.
He reaIIy took what had previousIy been
a very fantasticaI worId...
...and, you know, brought it down to Earth
and made it feeI very grounded and reaIistic...
...and that was aIways sort of our touchstone
for the character.
In addition to The Dark Knight...
...there was aIso just this sort of,
in a way, this Brothers & Sisters...
...which is a show Greg deveIoped,
with the famiIy stuff.
You know, and shows Iike Revenge
with, you know, ongoing famiIy saga.
It reaIIy was this sort of, Iike,
you know, perfect sense of aIchemy...
...that everything came together that,
you know, as Greg said...
...we weren't quite sure was going to work.
And yet finding the cast that we did
and, you know, and refining the script...
...and, you know, every episode
has a IittIe bit of these eIements.
And, you know-- And I don't know why
they don't aII cIank together...
...but somehow it aII
sort of Iike works as one.
In terms of the comic-book infIuences,
I think the first two sort of series...
...that we Iooked at were Mike GreII's
The Longbow Hunters...
...which is this series that Mike GreII wrote
and drew back in the '80s...
...that basicaIIy sort of reinvented
OIiver Queen, Green Arrow, for a modern-day--
A quote-unquote ''modern-day'' audience.
A post-SiIver-Age audience.
And it was a very grounded,
very reaIistic take.
He didn't even go by the name Green Arrow,
much Iike in our show.
Um, and the second was Andy DiggIe's--
Yeah, that's a coincidence, foIks.
[AUDIENCE LAUGHS]
Uh, Andy DiggIe and Jock's six-issue
Green Arrow: Year One miniseries which--
It takes pIace, as the titIe impIies,
over the course of one year...
...but it's on the isIand.
And that, for us, was proof of concept
that you couId teII an extended story...
...with a cooI beginning, middIe and end
and interesting pIot twists...
...aII set on the isIand.
Which, obviousIy,
was a big component of the sh--
Of Greg's originaI conception for the show.
KREISBERG:
It was aIso the first time, in that book--
You know, every previous iteration
of his time on the isIand, he was aIone.
He was basicaIIy just castaway.
He just, you know, feIt bad and got thin
and Iearned to fish.
[AMELL LAUGHS]
And, you know, that comic book was reaIIy--
GUGGENHEIM: I Ioved that issue.
KREISBERG: Yeah.
Um....
You know, that book was the first time
anybody had suggested...
...that he'd had adventures on the isIand...
...that he actuaIIy became the Green Arrow
on the isIand.
And that was reaIIy such a massive touchtone
because, obviousIy, in the course of the piIot...
...it was just about getting OIiver
to the isIand...
...but if we were bIessed enough
to get to go to series...
...we aIways knew
that we were gonna popuIate the isIand...
...with this cast of characters and put OIiver
through, you know, this incredibIe crucibIe...
...you know, that wouId expIain why when
we saw him at the beginning of the piIot...
...he came back this very coId, damaged
but IethaI character.
Speaking of comic books, too, the action.
The amount of action in the show is crazy.
I think Stephen is doing most of it himseIf.
Which I find unbeIievabIe.
[GRUNTS]
How do you get it done?
AMELL:
So, uh, JJ is our stunt coordinator...
...and our fight choreographer's name
is Bam-Bam.
[ALL LAUGHING]
James Bamford. And, uh, they--
I mean, they get the script,
and, you know, the stage direction is there...
...and, you know,
whether it's a parkouring sequence...
...or whether it's a fight sequence,
um, they map it out.
If it's a chase sequence,
they actuaIIy map out the chase sequence...
...with Iike IittIe toy mini cars.
[ALL LAUGHING]
And then Simon, my stunt doubIe,
and Jon KraIt...
...who's sort of our
stuntman extraordinaire, he--
If someone faIIs down the stairs
or faIIs from a high object, it's John.
And they shoot videos
that they deIiver to you guys.
BERLANTI:
Yes. Yes.
And then I do some rehearsaI
and away we go.
[ALL GRUNTING]
[AUDIENCE CHEERING]
So you're haIfway through this--
WeII, we're more than haIfway
through the season now.
What do you Iove pIaying about OIiver Queen?
What do you Iove about the character?
AMELL: I mean, I've become
a big sucker for the isIand.
I Iove the isIand stuff.
And, you know,
because when we began on the isIand...
...I was just Iaying around in the cave
Iike an idiot.
[ALL LAUGHING]
-You know?
KREISBERG: You know we wrote that, right?
[ALL LAUGHING]
I know, but I mean, you know--
But I knew, I aIways knew that eventuaIIy,
at a certain point...
...my spine wouId begin to form,
so to speak.
And, you know, I think that we saw that
in episode 14 ...
...when we actuaIIy took some time,
''The Odyssey''...
...and we spent more time on the isIand
than we did in the present day for that episode.
And it was just reaIIy, reaIIy fun for me
to aII of a sudden--
You start to see
these IittIe shifts in the character.
JOHNS:
But what's--? Him reveaIing Iike--?
ObviousIy, spoiIer aIert if you haven't seen
the episode a coupIe weeks ago, but--
AMELL: That Geoff wrote.
-Yeah, that I wrote. But-- Yeah.
You reveaIed yourseIf to Tommy.
-Right?
AMELL: Yeah.
JOHNS: So obviousIy that's gonna be
very different reaction...
...than reveaIing yourseIf to DiggIe or FeIicity.
How is that gonna pIay out?
Can you give us a IittIe hint
of what's up next for OIiver?
WeII, it changes everything
about their friendship.
I mean, aside from him being the vigiIante...
...Tommy's big probIem is that whether or not
I'm doing something virtuous or not...
...I kiII peopIe, you know.
He saw me in the piIot,
and I confirmed it to him, kiII three guys.
And, um, that's not--
I mean, Tommy, CoIin's character,
he's a good guy.
I mean, he doesn't wanna see that.
He doesn't wanna have to reconciIe
that his friend wiII do that.
And for me it's terribIe...
...because I toId DiggIe by design
and I toId FeIicity by design.
I did not teII Tommy by design.
And my buffer to my famiIy and to LaureI...
...is now way too thin for my comfort IeveI.
I mean, he couId just roII over in bed and say,
''Hey, OIiver's the vigiIante.''
[ALL LAUGHING]
And I didn't want that.
[ALL LAUGHING]
JOHNS:
WeII, weII said.
Uh....
KREISBERG: What's aIso interesting
is that Tommy is the first person to find out...
...who knew the oId OIiver, you know.
For us as writers, Dig and FeIicity
are peopIe that OIiver's met...
...you know,
since he came back from the isIand.
Tommy's the first person who knew OIiver
essentiaIIy his entire Iife and his entire--
You know, everyone eIse who's found out
has sort ofjoined the crusade.
And Tommy finding out, it's the first person
who's entire worId view of OIiver Queen is...
...is reaIIy bIown out of the water.
And watching that confIict between them
is gonna fueI the rest of the season.
You did mention DiggIe, John DiggIe.
I think he's an amazing addition
to the Green Arrow mythos.
[AUDIENCE CHEERING]
So, David, do you feeI
you have more freedom...
...because there aren't--?
There isn't a comic book version?
There's not added pressure of:
''Hey, this character has be
this specific way.''
Um....
Yeah, I do feeI some type of a Ieeway to that.
You know, Iisten, every time I Iook at a script,
I just Iook for the back to see if I die.
[ALL LAUGHING]
-Like, yo--
CASSIDY: We have that.
My brother's not dead, so I'm good.
I'm good.
But I mean-- No, but--
Yeah, I do-- Listen, there's no canon,
there's no DC canon for John DiggIe...
...so that's great.
But, you know, when I did meet Andrew
and, um, and David Nutter...
...you know, when I went in for the roIe...
...they, you know, had such a cIear vision
of who DiggIe was...
...and where he was going,
how he wouId find out.
They knew that it was gonna be either the third
or fourth episode that he wouId find--
I mean, they had a very cIear-cut Iife
for John DiggIe.
So it's great that though he doesn't
necessariIy have a future that's in stone...
...Iike maybe a DC universe...
...I'm in exceIIent hands.
I trust Andrew and Marc not to kiII me.
[ALL LAUGHING AND APPLAUDING]
Besides that....
Um....
I Iove what they're doing.
I Iove what they're doing with DiggIe.
KREISBERG:
So you guys want him to Iive?
ALL:
Yes!
[ALL YELLING AND CHEERING]
WeII, there you go.
WeII, first round's on me.
So one-- Speaking of death and returns.
One of the things,
Greg, you push reaIIy hard for...
...in the episode I wrote, at the end...
...is the very end-- Again, spoiIers,
hopefuIIy you guys have seen it.
But LaureI's mother returns and says,
''I think Sara's aIive.''
And there was some debate about whether
that Iine was even gonna be in that episode...
...and you reaIIy were the one...
...that, I think, expertIy and geniusIy
put that in there.
-Right.
-So, what was the motivation behind that?
-Laying that huge--?
-I wouId say from the--
You know, hopefuIIy,
when we're aII doing ourjobs right, it's--
A Iot of the stuff is set up even in the piIot.
You know, and Sara and who she is
and what she means to the Lance famiIy...
...and what she means to OIiver's past,
and, you know, aII of that is stuff...
...that we've reaIIy wanted to get to
at some point in this year.
And we knew, at the end of your episode,
that we were heading into sort of--
A Iot of times we sort of see the whoIe season
as a whoIe, aImost Iike three acts of a fiIm.
And the winter episodes are in a Iot of ways
the second act, you know.
And the finaI run of episodes
shouId feeI Iike aImost Iike the third act.
And that was just something, if we didn't--
If we hadn't sort of pIanted our fIag
in the ground...
...on that and certain other story Iines,
by the time you go in...
...the audience wants to pay attention
to the other story Iines that have been set up.
So that was something
that we definiteIy wanted to get back to...
...and evoIve the characters.
And, in part, because of the Iore of what
that means of who we wouId bring in.
And then aIso for, you know, the beginning
of some things that we have pIanned...
...throughout the rest of the year.
What are you doing here?
It's about Sara.
What about her?
I think she's may be aIive.
JOHNS: And I thought, Katie, you did
that beautifuIIy. That scene was wonderfuI.
-Thank you.
JOHNS: How does--?
Can you teII the audience a IittIe bit...
...about where that's gonna take LaureI,
what she has to deaI with...
...what the faIIout of that visit
from her estranged mother wiII bring?
Yes. Um, ahem--
As if LaureI doesn't have it hard enough,
Iike, the poor girI has gone through a Iot.
Her mom obviousIy shows back up
and says this, and I think....
You know, the first initiaI reaction
was the same reaction that I had.
I couIdn't quite figure out how
to wrap my head around this as a character.
And thinking about LaureI
and everything she's gone through, to hear--
First off, her mother show up...
...and then her mother obviousIy deIivers
some information. Um....
I think her-- My initiaI reaction to it
was very sincere...
...ofjust, Iike, compIete shock, you know.
And then, I think, you know,
LaureI being a Iawyer...
...she has reaction to things,
but then she wiII, you know, start to over--
She starts to sort of get in to it and rationaIize
and think if whether, you know--
Is she's teIIing the truth? Does she have
the correct information, and how?
And she kind of gets sucked in,
I think, by her mother a bit.
But you'II definiteIy get a chance
to see her mother kind of chaIIenge her father...
...and the dynamic within the famiIy.
It's reaIIy fun to have these scenes with,
obviousIy, AIex. She's amazing, and--
[AUDIENCE CHEERS]
Yeah, she's fantastic.
And PauI is fantastic...
...and working with them and sort of expIoring
that famiIy dynamic has been awesome.
Yeah, I mean, the famiIy dynamics
in this show throughout...
...you guys have created
wonderfuI characters.
Susanna, one of the favorite characters.
I reaIIy, reaIIy Iove her,
and then I'm very, very afraid of her.
So....
[ALL APPLAUDING]
I need to know,
is she a good guy or a bad guy?
[ALL LAUGH]
I have something that I wrote down
that I keep with me.
''Moira Queen, mother of mystery.''
And I think that just--
I just wait for the next script to come out
to give me more information.
I've created a back-story for her,
but the piIot caught me off guard.
It was as much a shock to me,
the ending on the piIot.
And now what we're expIoring through
this first season is reaIIy interesting to me.
Her reIationship with WaIter...
...um, and this dynamic, hard reIationship
with MaIcoIm...
...and her parenting.
There are other ways of finding out
what my son knows.
JOHNS: Yeah, the parenting's very unique.
-Yep. Yeah.
It is. And the pare--
BERLANTI:
She shot her son.
WeII-- And why didn't she know that
that was her son?
[ALL LAUGHING]
Because she's had Iots of heIp
parenting them, right?
You know, she's a biIIionaire.
Can you taIk a IittIe bit about
where she's going to go now that--?
You know, Iast we saw,
her attempted hit on MaIcoIm MerIyn faiIed...
...and now she's been tasked with finding out,
from MaIcoIm, who put the hit on his head.
I think she's, once again,
being put between a rock and hard pIace.
And she's making another deaI
with this particuIar deviI.
That she's been making deaIs with
aIong the way...
...hoping against aII hope...
...for the uItimate not to happen.
And she makes these IittIe bargains
with herseIf and....
And it's aII for her famiIy.
KREISBERG: I think that's the key.
for us as writers too.
-Like, we taIk about this a Iot.
-Yeah.
Like, whatever Moira does,
she does to keep her famiIy safe.
And, you know, sometimes that means
trying to knock off MaIcoIm...
...sometimes that means--
[ALL LAUGHING]
Sometimes that means torturing her son...
...to make sure that he doesn't know,
you know, information...
-...that couId uItimateIy get him kiIIed, so--
-But torture--
Kidnapping her son
so that someone eIse doesn't kidnap her son.
Yeah, yeah, yeah.
No, she had somebody eIse do it.
[ALL LAUGHING]
JOHNS: Justified.
-Yeah.
But in our heads, that's what keeps her--
That's her moraIity
and her Iove for her famiIy.
And that's what's great about the character...
...and the way Susanna portrays her
because, you know, she's--
You know, just-- In one episode,
she's compIeteIy Ioving and there for them...
...and then the next episode,
she's pIotting to have somebody kiIIed.
But it's aII coming from the same pIace,
and I think that--
[ALL LAUGHING]
THOMPSON:
Oops!
KREISBERG:
A Ioving mother.
You know, I wasn't a comic-book reader
when I joined this.
And I just Iook at it as cIassicaI,
you know, Iiterature.
These type of big stories, big moments,
big confIicting circumstances.
And it's fun to pIay
and it's wonderfuI to work with these actors.
We have a traitor in our midst.
I want you to find out who.
He just made his Iast mistake.
JOHNS: So speaking of questionabIe
parents, the Dark Archer--
So the Dark Archer, is OIiver
gonna regret, um, saving his Iife?
-Is this gonna change--?
KREISBERG: Yeah. Yeah, yeah.
Yeah.
JOHNS: Is this gonna change--?
KREISBERG: Yes.
JOHNS: Can you guys give us a IittIe
hint at how MaIcoIm's gonna change...
...or potentiaIIy change his viewpoint
on who this vigiIante is and what his roIe is?
I think what's interesting about MaIcoIm...
...and you've heard a IittIe bit about it,
and it's gonna be expIored further...
...is, you know, that he Iost his wife,
um, and, you know....
KREISBERG: For us, in a way, MaIcoIm
is sort of eviI Bruce Wayne, you know.
We-- You know, we taIk a Iot about,
you know, Batman Begins...
...that moment in the movie where Bruce
goes through the training with Ra's AI GhuI...
...and then he's toId to execute a criminaI.
You know, in our minds, you know--
In the movie, Bruce doesn't do it.
In our minds, MaIcoIm did.
And, you know--
I think, you know,
that was reaIIy important to us.
And Greg, you know, reaIIy forced us to, you
know, reaIIy think about it in terms of, Iike--
You know, the viIIain has to have sympathy.
Everyone's the hero of their own story.
And, you know, what's reaIIy interesting
about, you know, MaIcoIm versus OIiver...
...is they both want the same thing
in an odd way.
They both want what's best for the city,
they both wanna cIean up the city.
You know, I think MaIcoIm wouId say
that OIiver is going about it very sIowIy.
And....
[ALL LAUGHING]
He's gonna get a hundred episodes that way,
so in his defense.
But we have great stuff coming up...
...where, you know, you're reaIIy going
to find out a Iot more about MaIcoIm...
...and what's driving him and obviousIy,
you know, what the Undertaking is...
...the very scary sounding Undertaking.
JOHNS: He's the hero of his own story, so....
-Yes.
Speaking of viIIains, because I Iove viIIains...
...you guys set up Deathstroke earIy on.
There's a great dynamic going on
on the isIand now.
ObviousIy something happened because
he's got his mask with an arrow through it.
KREISBERG:
But first I have to say...
...David Nutter,
when we were doing the piIot, said:
''We need one more secret on the isIand.
We need one more mystery.
There's not enough. We need something.''
We were sitting around taIking about it,
and were Iike:
''I don't know, maybe there's Iike a totem poIe
or something.''
And it was Geoff Johns who said:
''Deathstroke's mask sitting somewhere.''
And it's funny because,
you know, it was a smaII IittIe moment...
...that, you know, worked,
you know, for us in so many ways.
Because, you know, for one thing,
it toId the comic-book fans...
...I think right away, that, you know,
first, we weren't screwing around.
And-- But then aIso it's provided,
you know, Deathstroke the character...
...being part of the show
pIayed by Manu Bennett.
So that's aII due to Geoff Johns.
[ALL APPLAUDING]
What--? Can you teII us a IittIe bit
about that reIationship?
Because it's become
Iike the heart of the isIand now.
It's a wonderfuI reIationship.
I think seeing Stephen trying to do
one of those puII-ups was hystericaI.
But those two together,
it's a reaIIy great dynamic.
Is that gonna be a big part of the show
going forward?
GUGGENHEIM:
WeII, that's our-- I mean, that's our hope.
A Iot of that's gonna depend upon Manu
and, you know, his avaiIabiIity and whatnot.
But we Iove him, and we Iove
writing OIiver and SIade together.
I mean, they are sort of Iike
a proto-Butch and Sundance on the isIand.
And that's a huge,
you know, source of fun for us.
But then, soon we'II be compIicating
that reIationship, uh, in future episodes.
Not necessariIy drawing tension to it,
but adding an unexpected third eIement to it.
One of the new additions to the show...
...and she's a series reguIar next season,
is FeIicity Smoak.
[ALL APPLAUDING]
JOHNS:
So can you guys taIk a IittIe bit about--?
This is a minor supporting cast member
from The Fury of Firestorm comic book.
It has nothing to do with--
It was great, but it's--
-So how did--?
-Showing my roots.
How did she go from that
to a reguIar in the Green Arrow show?
-WeII, you know--
-And are you guys are surprised by--?
Because she's bIown up, obviousIy.
-PeopIe reaIIy respond to her.
CASSIDY: She's awesome.
We're Iess surprised than gratified, I think.
It's reaIIy aII because of EmiIy.
I mean, truthfuIIy, we wrote that as, you know--
We never intended to do Iike:
''Hey, we're introducing
this new recurring character...
...who one day is gonna find out
OIiver Queen's secret.''
It was, oh, we just--
OIiver needed to go to an IT girI...
...and we decided to make it somebody
in Queen ConsoIidated...
...and we gave her a IittIe bit of edge,
which we thought was fun.
And, you know, Marc and I saw,
Iike, you know--
Like the casting peopIe, they send you
the videos of the, um, the readings...
...of peopIe who come in to read,
and she was cIearIy the best one.
And we did it once,
and, you know, weII, what's gonna happen?
You know, we were watching, you know--
You know, sometimes we'II watch the show,
Iike, with Twitter.
-And by sometimes, we mean every week.
-We mean every Wednesday night.
[ALL LAUGHING]
You know, that first episode that she was on,
Iike, aII of a sudden it was Iike:
''Hey, who's the bIond IT girI?''
''Who's the bIond IT girI?'' And, you know--
You know, and then we were getting feedback
from, you know, um....
Peter Roth, who's the president
of Warner Bros., caIIed us and said:
''I Iove the bIond computer girI.''
[ALL LAUGHING]
And, you know, in that first scene,
you know, with her...
...Iike, reaIIy became proof of concept
for what she couId be...
...because, you know,
Stephen was so funny in that scene.
You know, with that first scene with her.
AMELL: I don't think
my character had cracked a smiIe...
KREISBERG: Yeah.
-...before episode three, when I saw her.
And we were shooting that--
I remember caIIing you guys afterwards.
I just remembered saying:
''EmiIy was reaIIy great
and that was a reaIIy fun scene to shoot.''
GUGGENHEIM: Yeah.
-You know, I'm IegitimateIy Iaughing at her...
...as she's bumbIing away.
And I'm so happy. We have, you know--
-It was getting IoneIy in the foundry with Dig.
RAMSEY: It was. It was. It was.
It was. I mean, how--?
How many sit-ups can I watch this dude do?
[ALL LAUGHING]
WeII, guys, thanks so much for coming out.
[AUDIENCE CHEERING]
Thanks for watching the show.
My name is Oliver Queen.
For five years, l was stranded
on an island with only one goal:
Survive.
Oliver Queen is alive.
OLIVER:
Now l will fulfill my father's dying wish:
To use the list of names he left me and bring
down those who are poisoning my city.
To do this, l must become someone else.
l must become something else.
ANNOUNCER:
Previously on Arrow:
I want you to find out
aII you can about that notebook.
I'II be driving your mother around.
She's not a suspect.
Something's going on in this city.
You know it.
WaIter, pIease.
You've got to stop Iooking into this,
it's not safe.
Accidents tend to befaII peopIe
who are too curious.
-It's done.
-And he won't be harmed?
Nor wiII he discover your invoIvement.
You have my word.
TOMMY: I'm not ready for the commitment
you're Iooking for.
-You can't be serious.
-This is me serious, LaureI.
BACKMAN:
CaII Cayman FideIity.
TeII them their favorite accountant
is fIying in...
...to make a speciaI deposit
for a speciaI cIient.
[ELEVATOR DINGS
THEN DOOR OPENS]
That eIevator's supposed to be on a key.
Go check it out.
[MAN GRUNTS]
HaroId Backman.
You have faiIed this city.
I'm onIy an accountant. I'm just the money.
Money that Ieads to extortion,
kidnapping and drugs.
It's the destruction of innocent Iives!
You think you scare me
more than the peopIe I work for?
No.
They can deaI with you.
Hmm. Let me guess. Some bad guy
missing his fancy new Iaptop?
HaroId Backman.
He's who StarIing City's worst caII
when they want to Iaunder money.
Then shouIdn't we just turn this over to,
I don't know, the IRS?
We wiII. Just as soon as you return
the money to the rightfuI owners.
Sounds Iike a nice idea, but Backman's fiIes
are protected with an encryption aIgorithm.
-ReaIIy?
-Yeah.
-So it's gonna take a whiIe to break in.
-Days, at Ieast.
Better get started, then.
At the risk of ending up
with an arrow in my eye, can I ask...
-...when are you making peace with DiggIe?
-He's the one who Ieft, FeIicity.
-I did everything I couId to stop him.
-Except apoIogize.
You promised you'd heIp track FIoyd
and you--
Made a choice that I can Iive with.
-If he can't, then I don't need him.
-OIiver--
I need to get back to the cIub.
Let me know when you break in.
I wish someone wouId send me off
to the Caymans.
Yes, I know it's been six months, but--
I am very weII aware of the statistics...
...but I haven't given up hope
and neither shouId you.
THEA:
That didn't sound too good.
Oh, it's fine.
Who were you taIking to?
Just the insurance company.
They insist on paying out
WaIter's Iife insurance poIicy.
I know we haven't taIked about WaIter
in a whiIe, but I miss him too.
It's Iike Iosing Dad aII over again.
MALCOLM: You Iook radiant.
-FIatterer.
I think you're the Iast to arrive.
-How's Tommy?
-Tommy is Tommy.
-How's OIiver?
-StiII in bed. It's onIy noon.
[BOTH CHUCKLE]
MOIRA: WeII, Iook who I just found.
-Heh-heh.
Get Iost trying to find the house?
You say that as if your driveway's
not Ionger than most roads.
-Can I get anyone anything eIse?
ROBERT: We're fine.
[DOORBELL RINGS]
Oh. Excuse me.
HeIIo, Mrs. Queen.
I'm sorry to bother you at home.
Oh, no, no, no. Don't be siIIy, WaIter.
Come in, pIease.
You're here to see Robert?
Yes, just some papers
he needs to sign for the stock offering.
He's in some private meeting right now,
but you're weIcome to wait.
-Thank you.
-UnIess you'd Iike to heIp me...
...get my chiIdren out of the house.
-You don't have chiIdren do you, WaIter?
-Not yet, I'm afraid.
WeII, save yourseIf the troubIe and don't.
They eventuaIIy aII turn into teenagers.
FRANK: Adam Hunt was reIuctant at first,
but was more cooperative...
...upon being informed
we knew about his embezzIement.
The poIice's communications system
couId use an upgrade.
I think Mr. Hunt can be persuaded
to make an anonymous donation.
WeII, that wiII certainIy cure
what aiIs this city.
What's that, MaIcoIm?
We're emptying the AtIantic
with a tabIespoon.
For years, we've been forcing
the city's worst to do what is best...
...Ieverage them to heIp us save this city.
But it's not working.
Crime in the GIades is rising.
The cancer is spreading.
-We just need to take some more time--
MALCOLM: Did Rebecca get more time?
Did the man who raped Frank's daughter
give her any quarter?
Everyone in this room has Iost something
or someone to the GIades.
And we have committed ourseIves
to fixing it...
...but what have we truIy accompIished?
Nothing. And maybe it's because
the GIades can't be fixed.
You're saying we shouId
abandon the project.
MALCOLM:
Yes.
In favor of a new undertaking.
Like Ben Tre in Vietnam.
The viIIage must be destroyed
before it can be saved.
Are you suggesting
we somehow IeveI the GIades?
Down to the bedrock.
OnIy then can we truIy rebuiId StarIing City
and make it safer for everyone.
That's 24 square bIocks.
And if we did,
and I'm not saying we shouId...
...if we did, wouIdn't suspicion faII on us?
Not if the destruction appears to be
caused by a naturaI disaster.
You've aIways had something
of a God compIex, MaIcoIm...
...it's part of your charm.
But even you can't create a naturaI disaster.
Have you ever heard of Unidac Industries?
It's a smaII company. They have an idea.
An idea that wiII serve our purposes.
My sources teII me
they're five years away from prototype...
...and any undertaking of vaIue
is worthy of patience.
-And restraint.
-One man aIone can't save this city, Robert.
We both know that.
[DOOR OPENS]
''Of aII the gin joints in aII the towns
in aII the worId, she waIks into mine.''
This coffee is terribIe, OIiver.
That's what you get
for ordering coffee at a bar.
You Iook tired.
Too much work?
Too much crying.
Tommy broke up with me.
-What happened?
-I have no idea.
Things were good, they were great.
And then, suddenIy, he's packing up
his things and teIIing me that it's over.
Did he say anything to you?
No. Tommy and I haven't taIked
very much since he quit.
But he'II come around.
It's probabIy just coId feet.
Like it was with you?
OIiver, you don't sIeep
with your girIfriend's sister...
...unIess you're Iooking
to bIow the reIationship up.
If you stiII want to be with Tommy...
...do what we shouId've done.
TaIk to each other. And be honest.
[DOOR OPENS]
FELICITY:
OIiver, I need to show you what--
I just totaIIy waIked in on a thing, didn't I?
I'm sorry, uh, who are you?
Nobody. I mean, I'm not nobody.
I'm someone, obviousIy.
And so are you. You're LaureI, right?
That LaureI. Gorgeous LaureI.
This is FeIicity.
She's setting up my Internet.
Router. And I need to show OIiver
something very important reIated to it.
I'II Iet you go, then.
Thank you for the coffee.
And the advice.
[SIGHS]
-TeII me you got in.
-Better.
I hacked Cayman FideIity and put together a
Iist of aII the deposits Backman made.
What good does that do us?
Look at the biggest deposit Iast year.
Bottom of the page.
''Two miIIion doIIars on Decem--''
December 12th.
-That's--
-The day WaIter disappeared.
What if one of Backman's cIients
was paid 2 miIIion to kidnap WaIter?
Then we find out which cIient it was...
...and use them to find WaIter.
Okay, back trace the account.
FoIIow the money.
HopefuIIy, it wiII Iead us
to whoever kidnapped WaIter.
After aII this time, do you think
WaIter might stiII be aIive?
I don't know.
Got it. Dominic AIonzo.
-Ugh.
-Name ring any beIIs?
Yeah. AIonzo runs the biggest
underground casino in StarIing City...
...when he's not busy kidnapping.
He Iooks Iike the kind of IowIife
someone wouId hire to kidnap WaIter.
How many arrows you think you'II put
in him before he gives WaIter's Iocation?
-Say ''a Iot.''
-It's not that simpIe.
That casino has its own army.
We need to access AIonzo's computer
but without setting off any aIarms.
Looks Iike we're gonna need
aII the heIp we can get.
It's too bad there's not someone
we couId caII.
That's enough. We can do this on our own.
WeII, then, it Iooks Iike someone's
going gambIing tonight.
Those guys wouId make me
the minute I waIked in.
OIiver Queen wouId never be
in a pIace Iike that.
I wasn't taIking about you.
-AbsoIuteIy not.
-I can count cards.
It's aII probabiIity theory and mathematics.
Have you met me? Bottom Iine,
I know my way around a casino.
-FeIicity--
-OIiver, the reason I joined you...
...in the first pIace was to find WaIter.
For the first time,
we have a reaI chance at finding him.
You have to Iet me do this.
AII right.
But we do it my way.
Come on.
I'm sorry to puII you away
from whomever you were meeting.
Oh, it's nothing.
Everyone's Ieft aIready.
Besides, it's my fauIt for forgetting
to sign the K-Fives this morning.
I hope you don't mind me asking,
is everything aII right?
Just, uh, taking care of some odds and ends.
-WeII, if ever you need a friendIy ear.
-You're a good man, WaIter.
I thought you'd Ieft.
-I'm stiII waiting for your answer.
-How can you even think of doing this?
-That pIace took your souI, Robert.
-And doing this...
...won't give it back.
Won't bring back Rebecca, either.
It stiII feeIs Iike yesterday, that day.
When she caIIed my ceII phone for the
first time, I remember being annoyed.
She knew I was busy, so I just Iet it ring.
When she caIIed back a minute Iater...
...I shut my phone off.
A IittIe after midnight, two S.C.P.D.
officers showed up at my office.
AII I remember them saying was...
...she'd been shot.
Murdered. In the GIades.
After the cops Ieft...
...I sat in my office the rest of the night,
Iistening to Rebecca's messages.
She kept caIIing my name.
Asking for heIp.
UntiI she was just struggIing
just to breathe.
Gasping for air.
I Iistened to my wife die
over and over and over again.
-I can't imagine, MaIcoIm.
-Try.
Imagine it was Moira Iying on
that pavement, bIeeding, caIIing your name.
And then teII me you wouIdn't be prepared
to do what I am.
[SIGHS]
What do you want?
Is that any way to treat a girI who
just waIked up six fIights of stairs?
No, it's not. Where are my manners?
Come on in.
Thank you.
WeIcome.
Did you do these?
You know, FeIicity, OIiver and I don't need
a reIationship counseIor.
That hasn't been my experience.
We have a Iead on WaIter.
I need you to come back
and heIp us find him.
-OIiver put you up to this?
-No. Heh.
He doesn't even know I'm here.
Look, I know OIiver didn't heIp you
find your brother's kiIIer...
...and that hurts and that sucks.
But you gotta know if it was your
Iife on the Iine and not just your...
...very understandabIe vendetta,
he wouId be there for you. No hesitation.
And I don't want a partnership
with those kind of quaIifications, FeIicity.
Look, I know OIiver's reIigiousIy against
admitting he's wrong...
...but the truth is, he needs you.
Yeah.
And when OIiver is ready to say that,
he knows where I Iive.
[SIGHS]
-Sorry for bothering you.
-It's no bother, I hope you find him.
[ALL CHATTERING]
Wow, you reaIIy Iook Iike your father.
I never thought so before,
but just now I saw him in you.
What are you doing here?
We need to taIk.
-I've said everything I have to say.
-WeII, I haven't.
Tommy, I Iove you,
and I think you stiII Iove me...
...so whatever probIems you think we have,
I know if we face them together--
-You don't understand.
-Then heIp me understand.
If our reIationship is gonna end,
at Ieast Iet it end with honesty.
Okay, LaureI.
HonestIy...
...you beIong with OIiver.
Excuse me?
He's stiII in Iove with you.
I have a meeting.
-Are you ready?
-I think so.
The pIan is for me to get caught
counting cards in a underground casino...
...fiIIed with hardened criminaIs.
So you can get a friendIy warning
from AIonzo...
...and pIant a bug on his office computer.
Right. Which wiII hopefuIIy Iead us
to WaIter.
That is, assuming I get the
friendIy warning and not a buIIet.
-Hey. You don't have to do this.
-Yes. I do.
Okay. If anything happens,
I'm right outside.
Okay. Heh.
-Password?
-Snapdragon.
GREEN ARROW [OVER RADIO]:
The password is Snapdragon.
-Password?
-Snapdragon.
[ALL CHATTERING]
Hi.
GREEN ARROW:
What do you see?
Six armed guards. Two pit bosses.
And a fIoor man.
No sIot machines. How can you caII
yourseIf a casino without Iucky sevens?
Stay focused, please.
l'll be with you the entire time.
Thanks.
[FELICITY SIGHS]
It feeIs reaIIy good having you inside me.
And by ''you'' I mean ''your voice,''
and by ''me'' I mean ''my ear.''
-l'm gonna stop talking right now.
-That wouId be my preference.
One stack of high society, pIease.
Thank you for stopping by.
Of course. Uh, you said you had news.
I do.
It's ready.
The Markov device passed
its finaI beta test this morning.
AppIied Sciences is Ioading it on a truck
bound for StarIing City as we speak.
WeII...
...congratuIations are in order.
To both of us.
Moira, you may be surprised to know
that I sometimes waver in my convictions.
But your friendship, your endIess support,
aIways gives me the strength to carry on.
After aII, you and I
wiII aIways have a connection.
I'm just sorry that Robert's not here
to ceIebrate with us.
I'm sorry I had to take him from you.
If anyone's to bIame for his death, it's me.
To Robert.
To Rebecca.
MOIRA:
Are you feeIing aII right?
I know tonight was just another Ted Kord
fundraiser, but you were surprisingIy quiet.
Moira, there's something
I need to taIk to you about.
If this is what I think it is,
I don't want to know her name.
No, it's about MaIcoIm.
He wants to IeveI the GIades.
And how does MaIcoIm propose
to evacuate an entire section of the city?
He doesn't.
Robert...
...this doesn't sound Iike you.
Because I'm not the man you think I am.
About a month before the opening
of the steeI factory, the one in the GIades...
...I was approached by a IocaI counciIman.
He wanted money. He toId me that's
the way everything was done in the GIades.
I toId him I'd never paid a bribe in my Iife.
We got into an argument.
I didn't want to hurt him.
I swear, Moira.
But he feII.
Oh, dear God.
-Oh, dear God.
-The work I'm doing with MaIcoIm...
...with the Iist...
...it's my penance, Moira.
What, so you'II atone for one murder
by committing hundreds? Thousands?
[MOIRA SIGHS]
Robert, you Iisten to me.
Whatever wrongs you've committed,
whatever mistakes you've made...
...preventing this horror
is your chance to make it right.
PIease.
PIease, Robert,
promise me you won't Iet this happen.
FELICITY: Oh!
-BIackjack!
FELICITY: Ha-ha-ha!
-Wow!
Yes. Ha-ha-ha!
Miss, can you come with me?
-Is something wrong?
-Get up.
WeII, since you asked so niceIy.
Oh, Iook, there's the bathroom. Heh.
I shouId've known the manager's office
wouId be to the right of the bathroom.
PIT BOSS:
Mr. AIonzo.
Yeah.
Have a seat.
-What's your name?
-Megan.
Do you know where the term ''86''
comes from, Megan?
Yes, as it happens, I do.
It's from prohibition.
There was an iIIegaI casino...
...not Iike this one, Iocated
at 86 Bedford Street in New York and....
-Ah. You know, I'm just gonna stop taIking.
-And now it means to ban someone.
Someone who's cheating. You're 86'd.
Leave your chips and go.
Thank you. Thank you.
Oh, yeah, Megan. One more thing.
See, the thing about card counters...
...is, uh, that sometimes they work
with a partner.
[RADIO BEEPS]
You're gonna be reaIIy upset
when you meet my partner.
[ALL CHATTERING]
[GUNSHOTS OUTSIDE]
[CROWD SCREAMING]
[MEN SHOUTING]
[SCREAMS]
[SCREAMS]
[GASPS]
-I heard you never miss.
-I don't.
[BEEPS]
[FELICITY GASPS]
[GRUNTING]
Where's WaIter SteeIe?
-What? What are you taIking about?
-Six months ago, you had him kidnapped.
It was just ajob. I was given a name.
I didn't ask any questions.
Last chance. Where is he?
-BeIow ground.
-You're Iying.
I'm not. I deIivered him and they kiIIed him.
I heard the gunshot. He's dead.
Oh, Iet's see that bIouse in a vioIet shade.
[MOIRA CHUCKLES]
You're a miracIe worker, Thea.
Oh, when it comes to shopping,
it's not work, reaIIy. Heh.
Hey. Just teaching Mom
the joys of onIine cIothes shopping.
OIIie.
Are you okay?
I need to taIk to you both.
What is it?
It's about WaIter.
Did the poIice contact you?
One of Mr. DiggIe's army buddies
works for the FBI now...
-...and they got news tonight.
-No.
I'm very sorry.
No, no, no. There must be some mistake.
Who did Mr. DiggIe taIk to?
-Did they find a body?
-Mom.
-WaIter's gone.
-This isn't right.
OLIVER: Where are you going?
MOIRA: Out.
-It's 10 :00.
MOIRA: I need some air.
-Mom, you're in shock.
-Don't teII me what or how I feeI, OIiver.
Why is she acting Iike that?
Come here.
[THEA SOBS]
I suspect I know what this is about.
You and I got in bed with MaIcoIm
to cure what aiIs this city.
But I think you agree kiIIing thousands
of peopIe is not the answer.
Indeed. If we were to wage a war
with MaIcoIm MerIyn, we wiII Iose.
My famiIy has aIready suffered enough.
And I have no desire to endanger mine.
FortunateIy, there's another option.
Six months ago, MaIcoIm started
buying up buiIdings in the GIades...
...through an off-shore company
caIIed Sagittarius.
He made it sound as if this undertaking
of his was a recent inspiration.
If you're right,
he has been thinking about this for months.
If he can't rebuiId it,
he'II abandon the project.
How much of the GIades
does he aIready have?
About a third.
Now, if we can quietIy buy up the rest...
...before he can, he won't be abIe
to gain the controI he needs.
-We wiII need capitaI.
-Do you stiII have your contacts in China?
I aIready have a fIight pIanned
for Shanghai tomorrow.
-Come with me.
-We shouIdn't traveI together.
MaIcoIm might get word.
He aIready knows I have my doubts.
Besides, I'm getting the urge to take out
the Queen's Gambit for another voyage.
Dad, do you have any cash?
This jerk pizza guy can't break a hundred.
-OIiver, you remember Mr. Chen?
-Hi.
-Hey.
-Waiting. Thank you.
[POP MUSIC PLAYING OVER SPEAKERS]
OLIVER:
Pizza.
My hero. I'm starved.
[OLIVER SIGHS]
-Hey, OIIie.
-Yeah?
Where do you keep the bottIe opener?
Bottom drawer.
-Did you taIk to Ray today?
-About the ski trip?
No. He asked Jean to move in with him
Iast night.
Oh. Guess they've been together forever.
We've been together Ionger.
Guess we have.
I onIy bring this up
because your mom busted me yesterday.
And obviousIy we can't hang out
at my house--
Why? Because your father threatened
to Taser me...
...the Iast time I cIosed the door
to your room?
-WouIdn't it be nice to have a IittIe pIace?
-Yeah.
Maybe.
This is a IittIe fast, LaureI.
I know that you Iike to think of yourseIf
as a bad boy, OIiver Queen...
...but I feeI Iike we're ready
to take the next step.
Yeah.
Let's do it.
[CHUCKLES]
You Iied to me. We had a deaI.
[SPEAKS IN FOREIGN LANGUAGE]
-What?
-You promised if I cooperated...
...with the Undertaking,
WaIter wouIdn't be harmed.
-I'm a man of my word, Moira.
-I think we both know better than that.
And I know....
[MOIRA SIGHS]
I know you've had him kiIIed.
Turn on the camera.
WaIter.
MALCOLM:
Like you said, Moira, we have an agreement.
WaIter wouId stay in my custody
untiI the Undertaking was compIete.
[OVER RADIO]
We're both in this together.
I've been sitting in the dark aII night too.
AII these months, I kept thinking
if I couId find a cIue or get a Iead on him....
I guess it wouIdn't have mattered.
I can't imagine what your famiIy's
going through.
WaIter's aIive.
What?
But AIonzo said--
I need you to puII up
MaIcoIm MerIyn's phone records.
He made a caII from his office to wherever
WaIter is being kept at 10 :30 p.m.
MaIcoIm MerIyn? Tommy's father?
Why wouId he kidnap WaIter?
FeIicity.
LUDs show he made a caII to a tenement
compIex Iocated in BIudhaven.
-Can you puII up a sateIIite view?
-Uh, yeah.
A Iot of security for Iow-income housing.
There's two guards stationed
at aII access points.
Just one on the roof.
ExactIy. There's no other buiIdings
in that area.
If you wanna get onto the roof, you're
going to have to jump off of something.
I've got something.
[GUARD GRUNTS]
There's a probIem in Quadrant 4.
[ALL GRUNTING]
[MEN GROANING]
[VOICE MODULATOR BEEPS]
[IN DISTORTED VOICE]
Mr. SteeIe?
WaIter.
[WALTER GRUNTS]
What's happening?
You're going home.
I thought I'd never see you again.
[MOIRA SIGHS]
I'm aII right.
WeIcome home, WaIter.
Thank you, son.
Thea.
[WALTER CHUCKLES]
This is totaIIy a famiIy thing, isn't it?
I'm sorry. Who are you?
This is FeIicity. She's my friend.
Mine too. It's good to see you.
You too. Uh, I'II Iet you guys
get back to your hugging.
[ALL CHUCKLE]
[MOIRA SIGHS]
MOIRA:
OIiver.
We're aII together again.
Everything is going to be aII right.
MOIRA:
Robert, I don't Iike the idea of this.
ROBERT: It's gonna be okay.
-How Iong wiII you be gone?
A few weeks.
Maybe more, depending on weather.
-Why can't you just fIy to China?
-It's better the Iess you know.
I just hate that stupid boat.
Look at me.
I Iove you.
-Everything's gonna be fine.
-I know.
Hey.
Got room for one more?
-No, no.
-Mom. Let me keep Dad company.
-OIiver, you're in schooI.
-Not reaIIy.
-I forgot to teII you that.
-I couId use an extra hand on the ship.
-Robert.
-Moira, Iet the kid take the boat out...
...with the oId man.
[SIGHS]
AII right. AII right.
But promise me that you'II behave yourseIf.
Oh, yeah, I promise.
-I Iove you so much.
-I Iove you too.
I totaIIy spaced. I gotta caII Tommy and Iet
him know I'm out of town for a few weeks.
See you onboard in five.
Sara, you here? Ahem.
Yeah, you might wanna
circIe around the bIock a few times...
...because your sisterjust showed up.
Hi. What are you doing here?
You're Ieaving for three weeks.
I wanted to come say bye to you in person.
I'm gIad you did.
And I wanted to bring you something.
[OLIVER SIGHS]
In case you get IoneIy oversea.
[CHUCKLES]
Thank you.
Hey, is everything okay?
I mean, I didn't totaIIy freak you out when I
brought up the whoIe apartment thing, did I?
-No.
-Good.
No.
Mm. But I do have to get back to the boat.
Yeah.
MALCOLM:
Is it done?
FRANK:
Yes.
The bomb is in place.
And there's a storm front moving in
aIong the Gambit's projected course.
Good.
When the Queen's Gambit goes down...
...no one wiII suspect it's anything
other than an act of God.
OIiver.
Oh. What a miracIe.
How's WaIter?
The poIice are saying
he was rescued by the vigiIante.
-Yes, he was.
-Has he said anything about his ordeaI?
Was he abIe to identify any of his captors?
No.
Hmm. That's too bad.
They'II get what's coming to them.
I'm just gIad that my famiIy
is back together.
We aII are.
LAUREL:
OIIie.
Excuse me.
Is WaIter okay? I saw it on the news.
Yeah.
Are you okay?
Of course.
-I promise you, now is not the time.
-Oh.
-It's you and Tommy.
-You and me, actuaIIy.
I taIked to Tommy,
and the reason he broke up with me...
...is because he thinks that you and I
stiII beIong together.
-What did you say?
-Nothing.
He waIked out on me.
I just want you to be happy.
It's what I've aIways wanted.
Then wiII you pIease go taIk
to Tommy for me?
And say what?
Say that you and I are over.
That you're not stiII in Iove with me.
I can't do that.
Why not?
Because it wouIdn't be true.
And I have enough Iies in my Iife aIready.
[SIGHS]
[KNOCKING ON DOOR]
[SIGHS]
-I guess you do know where I Iive.
-I've aIways known where you Iive.
May I?
I'm sorry.
You were right and I was wrong.
-About Deadshot?
-About everything.
About my mother. And about her
invoIvement in the Undertaking.
She Iied to me.
To Thea.
She's working with MaIcoIm MerIyn.
And they're planning something.
Something terrible.
l don't know what yet...
...but I just know one thing...
...I need your heIp to stop them.
[EngIish - US - SDH]
OLIVER:
My name is Oliver Queen.
For five years, l was stranded
on an island with only one goal...
...survive.
Oliver Queen is alive.
OLIVER: Now l will fulfill my father's dying wish
to use the list of names he left me...
...and bring down those
who are poisoning my city.
To do this,
l must become someone else.
l must become something else.
ANNOUNCER:
Previously on Arrow:
Rescuing your father and stopping Fyers
is not gonna be some waIk in the park.
-Yao Fei.
-Pa.
How did you escape?
I didn't.
You toId me to stay away
from your famiIy and I did.
But your famiIy isn't staying away,
which means something must be done.
You're going home.
About my mother and about
her invoIvement in the Undertaking.
She's working with MaIcoIm MerIyn,
and they're pIanning something terribIe.
So I was wondering,
there's a Iate night happy hour at SteIIa's.
The pIace across the street.
The pIace that's aIways pIaying
Ioud saIsa music at aII hours...
-...when I'm trying to work Iate?
-That wouId be the one.
Anyway, I was thinking that, uh,
maybe, you know...
...if you wanted to,
we couId perhaps grab a drink?
How about two?
[WOMAN GASPS]
WOMAN:
Oh, my God!
PIease, I did everything
Mr. MerIyn required of me.
He knows, Dr. Markov,
and he thanks you for your service.
[SCREAMS]
[LOCK BEEPS]
-Open the door!
-Open the door!
-Open the--
-Freeze!
Open the door.
-Open the door.
-Get down on the fIoor!
MAN:
Open the door.
[ALARM WAILING]
[BOTH SIGH]
[WOMAN GASPS]
[SCREAMS]
I've been watching your mother
for days now, OIiver, and nothing.
She goes to work, she comes home.
OccasionaIIy she goes out to dinner.
She seems to Iike
the saImon tartare at TabIe SaIt.
I'm Iinked into phone.
Nothing out of the ordinary.
No mention of WaIter's abduction
or the Undertaking.
-Just innocuous caIIs to MaIcoIm MerIyn.
-Why wouIdn't she caII him?
They're oId friends.
We're aII oId friends.
Are you okay?
My mom and my best friend's dad
are invoIved in a conspiracy...
...that may have dire consequences for
the city. I'm sure they murdered my father.
I'm not pIanning on using the word
okay again anytime soon.
AII we know is MaIcoIm and your mother
are pIanning something for the GIades.
WaIter and I were getting cIose.
That's why they had him kidnapped.
We have to find out
what this Undertaking is.
I gotta ask her.
WeII, no. The Iast time the vigiIante
paid your mom a visit...
...you got shot,
and I got to pIay doctor with you.
Oh! My brain thinks of
the worst way to say things.
This time it'II just be me asking.
FriendIy mother-son chat.
LaureI, what are you doing here?
It's not even 7 a.m.
That's just after cIosing time, right?
[OLIVER CHUCKLES]
-How's business?
-WeII, it's busy.
Busy. It was easier
when Tommy was running things.
-Tommy's a good guy.
-Yeah.
-Are you?
-What do you mean?
Last week, I toId you
that I wanted to get back with Tommy.
That I needed you to go to him and expIain
that you didn't stiII have feeIings for me.
But instead, you toId me that you did.
As I'm sure you can probabIy imagine,
I haven't been abIe to think of much since.
-I shouIdn't have said that.
-Then why did you?
I-- I didn't have an agenda.
I didn't mean to make it more difficuIt
for you to fix things with Tommy.
But what if you did?
After you disappeared with Sara...
...I was sorry I ever knew you.
But now things have happened
that I never thought wouId.
You coming home.
My parents being in the same room.
And you.
What if I'm finaIIy starting to see you
for who you reaIIy are?
-No--
-Maybe Tommy was right.
Maybe he and I weren't meant to be.
Maybe I'm finaIIy ready to admit...
...that I stiII have feeIings for you too.
Nothing's changed.
My Iife hasn't changed.
I haven't changed.
I gotta go. WaIter's coming home.
[SIGHS]
Everything's exactIy as you Ieft it.
-How are you feeIing, WaIter?
-I'm on the mend, thank you, OIiver.
-Oh, I'm so gIad you're home.
-That makes two of us.
AII of us.
We've prepared a deIicious brunch for you.
AII your favorites.
Yum, EngIish food.
ActuaIIy, I'm more tired
from the drive than I expected.
-So I think I'd Iike to Iie down for a bit.
-Yes, of course.
[CELL PHONE BUZZES]
WaIter doesn't reaIIy seem Iike himseIf.
He's gone through a Iot.
It's just gonna take a IittIe bit of time.
[THEA SIGHS]
I'm reaIIy sick of us aII
having to go through a Iot, you know?
Six scientists and three security personnel
are confirmed killed in the massacre.
Among the dead,
respected seismologist, Brian Markov.
A spokesperson for Unidac lndustries
says a comment would be forthcoming.
-Mom, we need to taIk.
-Oh, uh, Iater, OIiver.
--to co-workers, parents and families
of all the victims...
...to see how they're coping
with their loss.
You--
Save it. We don't have the Iuxury
of induIging in vendettas.
-Pa.
-Shado.
You Ied Fyers right to us, you coward.
Fyers was about to fire bomb
the entire forest just to eIiminate you.
This way, you aII have a chance.
Pray I don't get the chance
to repay your mercy.
How fitting. Everyone reunited for the end.
The end of what? What is aII this for?
PILOT [OVER RADIO]: HKlA, this is Ferris,
Flight 637 out of Berlin, nonstop to Hong Kong.
We are steady on approach at 33,000 feet
with winds at 15 knots.
ETA, two hours, 15 minutes, over.
Ferris 637, this is HKIA. Adjust course
to 0.6 degrees south, 11 minutes, over.
Roger, HKlA.
Why the course change?
Nothing to worry about, 637. Just Iooking
to make sure you avoid a IittIe turbuIence.
Roger that. Adjusting course now.
They're aItering course. The pIane
wiII be in Lian Yu in 26 minutes.
Good. Keep tracking it.
That's a commerciaI airIiner, Fyers.
-It's not Iike it can Iand here.
-It won't be Ianding anywhere, Mr. Queen.
I'm going to destroy it.
Arrows are bIack, not green.
Copycat archer again.
Psychopaths are coIor-coding themseIves.
That's heIpfuI.
We haven't seen the copycat
in quite a whiIe.
Last time he took hostages
to draw out the vigiIante.
This time,
he massacres a bunch of Iab nerds?
Want a press Iockdown.
Nobody hears about the other archer.
Get a Iist of aII Unidac empIoyees
and what they're working on.
It was a tight group.
Anyone who knows anything
about the project is dead.
The copycat fried their computers
and burned their research.
Ah. Whatever's going on here, someone
doesn't want anyone to know about it.
THEA:
Where did you even get that camera?
Come to think of it,
where did you get this car?
I borrowed it, iIIegaIIy.
When I imagined being in a car with you,
this isn't exactIy what I had in mind.
You said you'd heIp me find the vigiIante.
I know, but it's been two weeks.
The cIosest we've come
is snapping photos of the cop...
...who hates the Hood
just as much as you worship him.
-I don't worship him. I just need to find him.
-You don't need to find him to be somebody.
Besides, it's not Iike
you're gonna meet him any time soon.
Seems Iike the cops don't have a cIue.
We don't know what they know.
-Okay, I officiaIIy do not Iike that Iook.
-You stiII work at CNRI, right?
Hey, Mom.
[SIGHS]
WaIter's upstairs resting.
I think he's doing weII, don't you?
-Who took him?
-WeII, we don't know yet.
I'm gonna make sure the resources
of Queen ConsoIidated are behind it.
That's the answer
that you gave to reporters yesterday.
TeII me the truth.
[SCOFFS]
-I don't know what you mean.
-I think you do.
When I showed you dad's notebook...
...you seemed to know something.
Something about our famiIy being in danger.
Are you suggesting that I knew
something about my husband's kidnapping?
I'm suggesting you were scared.
That maybe you didn't mean
for any of this to happen.
It was harder than you thought, now you're
bareIy keeping your head above water.
PIease, Mom.
Let me heIp you before you drown.
You need to stop asking these things.
Do you understand? I need you to stop.
I can't.
I need to know.
-Is that a power outage?
-I don't know.
[ARROW FIRES
THEN OLIVER GRUNTS]
OIiver. OIiver.
[ARROW FIRES]
[GASPING]
Mom.
OIiver.
-Are you okay?
-OIiver?
What...? We....
-Oh, we've gotta get out of here.
THE HOOD: Moira Queen...
...you have faiIed this city.
This doesn't make any sense.
Why do you want to bIow up a pIane?
When the New York Stock
Exchange reopened after 9/11 ...
...the Dow Jones dropped
nearIy 685 points.
Imagine what wouId happen to China,
the worId's second Iargest economy...
...if aII air traveI in and out of China
were to be grounded indefiniteIy.
You want to destabiIize China's economy?
It's not what I want, but rather my empIoyer.
We have enough missiIes to shoot down
any aircraft approaching the mainIand.
And that wiII decimate China's economy.
EspeciaIIy...
...once a rogue eIement in China's
own miIitary cIaims responsibiIity.
You see, inconvenient
though you occasionaIIy were...
...you're aIways worth more to me aIive
than dead.
Then you shouId have kiIIed me,
because I won't do it.
ReaIIy?
[GRUNTING]
Shado. Shado.
I said I need you aIive,
but I can kiII everyone you care about.
HeIp you with something?
Yes, um, I'm from CNRI and we're investigating
cIaims of raciaI bias in SCPD arrests.
So I'm gonna need a copy of each fiIe
from every arrest...
...in StarIing City
January, 2011 to present.
-It's aImost 9 at night.
-TeII that to Judge Crow.
He's the one who signed the court order.
Wait here.
HILTON: I don't know, it seems Iike a Ieap.
LANCE: What you do when you got nothing...
...because aII I know is the copycat,
he torched every record down at Unidac.
And aII we got are phone records
and they show that this Markov guy...
...made caIIs to an uncIaimed Iine
at MerIyn GIobaI.
A coupIe of caIIs? Did I say ''reach''?
I misspoke. I meant ''Ieap.''
LANCE: Get someone down here from MerIyn
GIobaI to answer questions under oath.
-Did you find anything?
-Lots.
THEA: Anything heIpfuI?
ROY: No, stiII Iooking.
What about you?
You Iearn anything from the cops?
-As a matter of fact.
-I Iike the sound of that.
-You know that copycat archer?
-Yeah.
Turns out he's connected
to MerIyn GIobaI somehow.
Or at Ieast his victims are.
We're Iooking for the Hood,
not some crazy wannabe.
WeII, the guy with the bIack arrows seems
to hate the guy with the green arrows, so....
So what, we just show up at MerIyn GIobaI
and hope the Hood shows up too?
Last I checked,
you don't have any better ideas.
PIease.
Do not hurt my son.
THE HOOD: TeII me what
the Undertaking is and I won't have to.
OLIVER: No!
-TeII me!
PIease, Ieave my son aIone.
-What is MaIcoIm MerIyn pIanning?
-I can't teII you.
He'II kiII me, he'II kiII my famiIy.
THE HOOD: You shouId be
more worried about what I'II do.
[OLIVER GRUNTS]
No! MaIcoIm is pIanning to IeveI the GIades.
He said so he couId rebuiId it but....
THE HOOD: How?
-There's a device.
-What device?
-He says that it can cause an earthquake.
-How is this possibIe?
-I don't know.
It was invented by Unidac Industries.
MaIcoIm used
my company's appIied sciences...
...to turn it into a weapon.
Why wouId you get invoIved
in something Iike this?
My husband....
He got invoIved without my knowing.
He was just trying to do some good.
He was Iost. He....
His decisions Ieft me vuInerabIe to MaIcoIm
and I had no choice.
I had to protect my famiIy and my chiIdren.
THE HOOD:
This device, where is it?
-I don't know.
-If you don't teII me, I can't stop MerIyn.
Oh, you can't stop him.
It's too Iate.
No, no, no, I toId you everything!
-OIiver. No. Oh, sweet--
-Don't.
PIease, I know what you must be thinking,
sweetheart...
...but I never intended any of this to happen.
[COUGHS]
You know I wouId never wiIIingIy be a part
of anything Iike this.
I don't know anything anymore.
Oh, my God. You said you were
gonna puII your punches.
-I did.
-Let me get you an icepack for everything.
I'm fine.
I need you to dig up everything you can
on Unidac Industries.
WeII, we know Queen ConsoIidated
acquired them seven months ago.
That's when we met.
I need information about what I don't know.
Unidac is a smaII research
and deveIopment technoIogy company...
...that speciaIizes in seismic infringement.
MerIyn pIans on IeveIing the GIades with a
device that triggers a manmade earthquake.
FELICITY:
You're kidding.
What eIse does it say?
More information on the stock auction...
...and you know the Iatest,
what the media's caIIing--
-The Unidac massacre.
-There's no way this timing is a coincidence.
OIiver, there's a website cIaiming
the poIice suspect a copycat archer.
-What?
-So the other archer works for MerIyn?
He's tying up Ioose ends.
Erasing aII evidence this device exists so
no one can trace the devastation to him.
-You'II have a conversation with MerIyn.
-Even if I take out MerIyn...
...the other archer is there.
He can set off the device. We need to find it.
Then MerIyn can get his.
Maybe there's another way
to get MerIyn to teII us.
What do you have in mind?
As I keep proving, peopIe keep secrets...
...computers don't.
FeIicity, are you hacking
into the MerIyn GIobaI mainframe?
Hacking is such an ugIy word. No. I'm....
Yeah, totaIIy hacking
into the MerIyn GIobaI mainframe.
Stop! I'II do it.
I knew your good judgment
couId be counted on.
Come aIong now.
We need to get you back into uniform.
[OLIVER GRUNTS]
[SPEAKS IN FOREIGN LANGUAGE]
-It's Fyers. It's happening.
-Understood.
That was Fyers.
Everything is proceeding to your pIan.
WALTER: It truIy is very kind of you
to come aII the way out here.
WaIter?
Who are you speaking to?
-Moira. How are you?
-WeII. Thank you.
-ActuaIIy, you Iook a IittIe bit out of sorts.
-Oh, no, no, I'm fine.
MaIcoIm stopped by
to check up on his nemesis.
[MALCOLM CHUCKLES]
On the racquetbaII court.
[CHUCKLES]
Didn't get a chance to taIk to WaIter
at the hospitaI.
Like everyone,
I'm gIad he's back where he beIongs.
With his famiIy.
Yes.
I'II Iet you get some rest.
-Thanks again.
-Yeah.
Uh, I'II waIk you out.
Your assassin wasn't too subtIe
in eIiminating those peopIe at Unidac.
PoIice are focused on the copycat archer
instead of the Undertaking.
As for our coIIateraI damage,
had to Iimit our exposure.
I see. And does paying WaIter a visit
just now faII under the same category?
You heId him for nearIy six months.
-SureIy you had him questioned.
-He was.
I assume if WaIter knew something you'd
rather he didn't, agreement be damned...
...I wouId be a widow again. Am I wrong?
RareIy.
LANCE:
WeII, we discovered a few phone caIIs...
...between one of the Unidac victims
and someone at the MerIyn GIobaI group.
Which is why I asked for someone at your
company to heIp me with my investigation.
But naturaIIy, they send down the one guy...
...that's been working there 30 seconds
and knows nothing.
Detective Lance, if someone from MerIyn
GIobaI is invoIved with those deaths...
-...I want them found as much as you do.
-Yeah.
Give me more to go on than phone caIIs
and I wiII heIp you in any way that I can.
Thank you.
Hey.
-What are you doing here?
-HeIping your father with an investigation.
Uh....
-CaII me if you need anything eIse.
-Thank you.
One second, sweetie.
Okay, someone at MerIyn GIobaI
couId be connected to the copycat archer.
Any chance you can have a IittIe snoop
around their computer systems?
-We'II need a warrant.
-We'II need ajudge who owes me a favor.
Hey.
You never did teII me
what had you and MerIyn on the outs.
-No, I didn't.
-You don't have to teII me.
OIiver.
[SIGHS]
-Come on.
-I know.
I know. Say it.
You think I'm crazy.
I mean, OIiver, he cheated on me,
he broke my heart, he Ied Sara to her death...
...and you wouId probabIy rather drink acid
than see me with him again.
Dad, I am sure you're disappointed in me.
[LANCE SIGHS]
Since Queen's been back, he's different.
I'II deny ever having said that.
Let's eat.
FELICITY: Ah.
-Anything?
For the record, I wiII pump my fist
in the air and scream ''yes'' if I get in.
-You can say this isn't working.
-This isn't working.
There has to be some other way.
UnIess I can waItz up to MerIyn's mainframe
and pIug in my tabIet directIy...
-...there's no way of getting that Iocation.
-Then we waItz.
Excuse me?
You need direct access to the mainframe,
so we get you direct access...
-...and figure out where the device is kept.
-OIiver...
...I did mention that the mainframe
is Iocated...
...inside MerIyn GIobaI Group's
main headquarters, on the 25th fIoor?
-OnIy accessibIe via a restricted eIevator.
OLIVER: I know.
We're gonna have to break in.
Hi. OIiver Queen.
I have an 11 :30 with Tommy MerIyn.
I have a super deIuxe Big BeIIy Buster
for a Mr. Andrews.
I think he's in security.
-He a good tipper?
-You can go on up, Mr. Queen.
You can wait a second.
-New guy, you order food?
-Yeah, I'm addicted to Big BeIIy Burger.
-Never had it.
-I'II spIit it with you.
Keep the change.
MAN:
HoId that.
-Where you heading, sweetie?
-Nineteenth fIoor.
Too bad, I'm going to 13th. Damn it!
Mr. Andrews got his Iunch?
One BeIIy Buster with benzodiazepine.
HoId the mayo.
SIeep tight.
Mainframe's on 25, guys.
This is as cIose as I can get you.
[FELICITY GRUNTING]
-Don't Iook down.
-Too Iate.
I shouId mention I'm afraid of heights,
which I just Iearned.
-FeIicity. HoId on to me tight.
-Huh?
I imagined you saying that
under different circumstances.
Very pIatonic circumstances.
-Ready?
-Uh-huh.
Come on.
-You aII right?
-I'm fine.
Yeah, this is just my about-to-hack face.
I aIways...
...oh, Iook Iike this right before I,
you know, hack.
Security patroI's on a 10 -minute cycIe.
I'II have my meeting with Tommy
and be back in nine.
Okay.
Okay.
Dig, you got eyes on her?
Five by five.
Okay.
OLIVER:
Sure beats the back of a bar.
I saw your name in my scheduIe.
I thought it must be a typo.
Why so serious?
Did someone decide that they didn't
want you putting an arrow in them today?
-I thought it was past time we taIked.
-About what?
Me Ieaving the cIub, you being
a seriaI kiIIer? We're not Iacking for topics.
Let's start with LaureI,
since you're stiII in Iove with her.
So are you.
I can't be with her, Tommy.
-You know why I can't.
-So what?
-I'm her consoIation prize? I'II pass.
-She's not anyone's property.
LaureI makes her own decisions...
...and she chose you.
UntiI you couIdn't handIe it.
Lord knows I am guiIty
of a Iot of things between us...
...but not you and her.
That's aII I came to say.
What exactIy do you do here?
I work cIoseIy with my father.
-Guys, you got troubIe.
-What?
FeIicity's about to have some company.
-I'm not there yet on the downIoad.
-HoId tight. I am on my way.
OIiver.
-Mr. MerIyn.
-I must say, I'm surprised to see you here.
Tommy and I just had
a IittIe unfinished business.
Ah. Things have been chaIIenging,
but I trust you're working things out.
DIGGLE: Felicity.
FELICITY: Just a few more seconds.
Yes. I'm sorry, I have to go.
There are investors waiting for me
at my cIub.
I'm heading out to a meeting myseIf.
I'II waIk you down to the Iobby.
DIGGLE:
She's gonna get made, Oliver.
Oliver, did you hear me?
DIGGLE: FeIicity.
-What? Just a few more seconds.
-Come on, come on.
-You don't have a few more seconds.
Yes. Wow, I reaIIy do do that.
-Oh.
-OIiver, she's in troubIe. Where are you?
This is a restricted area.
Let's see some ID.
ID? Uh....
-TeII your mother I said heIIo.
-I wiII.
-Got heId up. Heading back upstairs.
THEA: OIIie?
-Thea? What are you doing here?
-I, uh, just saw Tommy.
Yeah, me too. I'm gonna run back up.
I don't wanna be Iate.
Oh, I thought you just came down.
There you are. Thanks a Iot, man,
this one snuck past security.
One of MerIyn junior's bimbos.
Pissed he never caIIed her back.
-Copy that. I read the tabIoids.
-Yeah. Thanks again.
Let's go, Barbie.
Your new Iast name ain't gonna be MerIyn.
But I Iove him. He's my man.
Ha, ha.
You're my knight in shining armor.
Is that your friend Roy?
-No. Uh....
-No?
Yeah, he gave me a ride.
Thea, what are you reaIIy doing here?
The truth, pIease.
-The truth? Uh....
-Mm-hm.
-We're trying to find the vigiIante.
-What?
Roy's been kind of obsessed with him
since he saved his Iife at the subway.
I overheard Detective Lance saying
the other archer...
...was connected to MerIyn GIobaI, some--
Hey.
Roy. We haven't met.
I'm Thea's disapproving oIder brother.
Yeah, I know. Good to meet you.
Don't mess around with the Hood.
He's a psychopath. He's dangerous.
Anyone who gets near him winds up dead.
That wiII not be my sister, do you hear me?
Okay.
Take her home now.
What are you doing?
VigiIante's not fond of guys who seII Vertigo.
I know a guy who cIaims
he has a stash to seII.
Maybe we couId stake him out,
hope the Hood shows up for him.
-Did you not hear what my brother said?
-What does your brother know?
Uh, for one thing,
the vigiIante once saved his Iife...
...so if he's teIIing us to keep away
that shouId say something.
No offense, but your brother's a wimp.
-Don't say that.
-Why not? It's true.
My brother survived five years aIone
on an isIand.
-Five years I thought I had Iost him.
-Yeah? WeII, I Iost someone too.
-And they aren't coming back.
-Who?
It doesn't matter.
That is why I need to find him.
So he can teach me to be Iike him.
I'm not Iosing anyone eIse ever again.
I can't do this, Roy.
If you don't give this up,
you're gonna Iose me.
Better now than Iater.
[SIGHS]
Oh, good. I was just coming to check on you
to see if maybe you'd Iike some tea or....
What is this?
WaIter...
...pIease.
Divorce is an extreme reaction.
WeII, considering the circumstances,
I find it somewhat reserved.
You think I beIieve that my abduction
on the night you toId me...
...that I was getting too cIose
to your conspiracy was a coincidence?
No, you were in danger.
This arrangement, it saved your Iife.
WeII, that's ironic.
Because it feeIs Iike you've destroyed it.
-WaIter.
-You know...
...I read about peopIe in forced captivity.
Some of them said it was a simpIe thought
that got them through the isoIation and fear.
Returning to their Ioved ones.
So I don't know reaIIy why I'm stiII aIive,
Moira, because I didn't have that.
WaIter, pIease--
What do you think you can say to me
to convince me that everything I knew...
...my whoIe Iife, hasn't just evaporated?
Where are you going?
WALTER:
Come here.
[SOBBING]
Detective?
What did you find?
MerIyn GIobaI's cyber security
is off the charts.
FirewaIIs, NSA-grade, IPSec protocoIs.
What's that, tech speak for,
''I struck out, boss''?
Yeah, but I wasn't the onIy one.
Somebody eIse tried hacking
into MerIyn GIobaI systems.
Same pathways I used, same resuIt.
You're saying someone was Iooking
for MerIyn's connection to Unidac?
Someone good. Knew how to
reverse engineer her footprints.
-I aImost didn't catch her.
-Her?
Yeah. She works at Queen ConsoIidated.
Name's FeIicity Smoak.
Who the heII is FeIicity Smoak?
FELICITY:
In addition to the downIoad...
...I aIso took the Iiberty of upIoading
a Trojan to MerIyn's system.
-Figured it might come in handy.
-That's smart.
If MerIyn thinks he's been compromised,
it'II heIp if we know.
-Can you Iocate the seismic device?
-I'm working on it.
But there's at Ieast a terafIop
of data to go through.
You aII right?
My father, he toId me
that he faiIed the city.
Asked me to right his wrongs,
but I never knew what he meant untiI now.
It's the Undertaking.
I promised myseIf that when I crossed
aII these names off the Iist, I'd be done...
...but taking down these peopIe,
it doesn't honor him.
I was just treating the symptoms
whiIe the disease festered.
I stop the Undertaking...
...I wipe out the disease.
What are you saying, OIiver?
You wouId hang up the Hood?
MerIyn's pIan is what I returned
from the isIand to stop.
-Where are you going?
-Out.
[KNOCK ON DOOR]
Hi. Can we taIk?
What do you wanna taIk about?
Wow, I thought this was gonna
be easier to say.
But now I'm standing here...
-...Iooking at you and it's--
-Just say what you have to say and go.
Ever since I've been back,
we've been doing this dance.
We come together, and then I puII away.
Something puIIs me away.
But I think, finaIIy...
...that something might be over.
-What are you trying to say?
-That you know me better than anyone.
And that you are more important to me
than anyone.
I just hope I didn't wait too Iong to say it.
You didn't wait too Iong.
You're right on time.
[CELL PHONE BUZZING]
-What is it?
-FeIicity found the Markov device.
MerIyn's keeping it at a warehouse
his company owns in the GIades.
Good. Coordinate an attack.
You take the device, I'II take MerIyn.
-Got a location?
-Yeah.
According to FeIicity's Trojan, MerIyn's
Iogged on to his computer from his office.
I'm on my way.
The uniform suits you, Yao Fei.
Any time you're ready.
To the peopIe of China
and citizens of the worId...
...I make this statement voIuntariIy,
taking responsibiIity for the shooting...
...of Ferris Air fIight 637...
...to protest the PeopIe's
RepubIic of China's treatment of me...
...for betraying and abandoning me
to the isIand of Lian Yu.
Consider this my righteous deIivery
of powerfuI vengeance.
Thank you.
-No!
SHADO: Pa!
Pa!
MAN:
Sir, the pIane is within range.
[SHADO SOBS]
Very weII. I'II be in touch.
Can I heIp you?
No.
I wasn't taIking to you.
[IN DISTORTED VOICE]
MaIcoIm MerIyn...
...you have faiIed this city.
-And how have I done that?
-The Undertaking. It ends now.
DIGGLE [OVER RADIO]:
Oliver, the device...
...it's gone.
Where's the device?
Safe. I don't know how you got that Trojan
onto my system...
...but it prompted me
to take precautions.
There is nothing you can do to stop
what is about to happen.
And you shouIdn't.
This city needs what is about to happen
in order to survive.
The peopIe who are destroying it from
the inside need to be erased from the map.
Fine. Let's start with you.
Ironic, isn't it?
Last Christmas, I aImost kiIIed you.
A few months ago, you saved my Iife.
And now you're here trying to kiII me.
-You shouId make up your mind.
-Done.
[BOTH GRUNTING]
[YELLS]
[BOTH GRUNTING]
[PANTING]
Oh, no.
[EngIish - US - SDH]
OLIVER:
Previously on Arrow:
Maybe I'm finaIIy ready to admit
that I stiII have feeIings for you too.
No. MaIcoIm is pIanning
to IeveI the GIades.
My father,
he toId me that he faiIed the city.
But I never knew what he meant
untiI now.
MerIyn's pIan is what I returned
from the isIand to stop.
Oh, no.
You can survive this.
Make it home. And make it better.
Right my wrongs.
-Dad.
-Survive.
[GUNSHOT]
[OLIVER PANTING]
I hope I didn't hurt you.
At Ieast I can properIy thank you now
for saving my Iife.
If I onIy knew...
...how you were spending
your nights.
My hope is that I can expIain
everything to you...
...to heIp you understand.
You murdered my father.
You sentenced me to that isIand...
...to five years of heII.
I'm truIy sorry
for what happened to you.
You know I have Iost peopIe.
Yeah, your wife.
Do you reaIIy think...
...that you're honoring
Tommy's mother...
...by destroying the GIades?
As sureIy as you beIieve...
...you're honoring your father
with this hood.
Not a day goes by
I don't miss your father.
You'II see him soon.
You can't beat me, OIiver.
Yes, you're younger
and you're faster.
Yet you aIways seem
to come up short against me.
Want to know why?
Because you don't know...
...in your heart,
what you're fighting for.
What you're wiIIing to sacrifice,
and I do.
No one can stop
what's about to come.
Not even the vigiIante.
PIane's hoIding steady at 33,000 feet.
The range for missiIe intercept.
Lock missiIe one on target.
MissiIe one Iocked
on the jet's heat traiI.
FRYERS:
Prepare to Iaunch on my mark.
DURAND:
Yes, sir.
[YELLING]
[DURAND GRUNTS]
Fire! Fire the missiIe now!
[GRUNTS]
[GROANS]
[NECK SNAPS]
[CRACKS]
[GUNSHOT]
I take back every joke about you
sticking a tracking device in your boot.
FeIicity's
at Queen ConsoIidated.
She's going through data
she puIIed off MerIyn's network.
-Did she find anything?
-Yeah.
The design schematics
of the earthquake generator.
So we can shut it down.
Assuming we find it in time.
[PHONE RINGS]
DIGGLE: Yeah, Felicity, l got him.
-Thank God.
-Is he okay?
DIGGLE: Mostly.
Okay. I'm on my way.
LANCE:
Miss Smoak.
Where are you off to
in such a hurry?
PIease.
Take a seat.
You know, I think I'd rather stand.
-You're not exactIy a hardened criminaI.
-No, I'm not any kind of criminaI.
-What do you caII computer hacking?
-A hobby?
That I do not engage in.
Hey, I got a whoIe mess...
...of gobbIedygook I don't understand
but says otherwise.
I had my tech guy scrub through
your computer at Queen ConsoIidated.
You used it to hack into
BIackhawk Squad Security...
...research arrows shipped
to a company caIIed Sagittarius...
...and to anaIyze a water sampIe
to tie back to a Vertigo drug Iab.
These are aII cases...
...invoIving...
...The Hood.
TeII me, FeIicity.
What am I thinking?
[PHONE RINGS]
Saved by the beII.
Excuse me.
HOOD: Hello, detective.
-Funny you shouId caII.
-I got your sidekick sitting in front of me.
HOOD: l don't have a sidekick.
When I need heIp, I caII you.
MerIyn pIans to IeveI the GIades
with a manmade earthquake...
...using technology
from Unidac lndustries.
What?
Ha, ha. Now you're trying
to have fun with me.
I don't know MerIyn's timetabIe. You need
to evacuate the GIades immediateIy.
Get as many people
to safety as you can.
Whatever you think of me,
detective, pIease...
...beIieve this.
Sounds Iike you have
bigger probIems than me.
Don't Ieave town.
You know...
...I used to think the vigiIante was
a criminaI too but it seems to me...
...whoever he is, he's wiIIing to sacrifice
to heIp the peopIe of this city.
Kind of makes him a hero.
Doesn't it?
Look who it is.
-My best friend in Iife.
-Hey, buddy.
I took your advice, you know.
I went to LaureI's
to fight for her.
So imagine my surprise
seeing you there, kissing her.
-I'm sorry.
-No, you're not.
Something's happening
and it invoIves your father.
-Keep my father out of this.
-Our fathers.
They aren't the men
we thought they were.
They made a pIan together...
...to destroy the GIades.
Do you have any idea
what you sound Iike right now?
Your father's gonna do it.
Because he thinks
it wiII avenge your mother's death.
Do not taIk about my mother.
The difference...
...between us, Tommy...
...is that I didn't find out
the truth about my father...
...untiI it was too Iate.
But you've aIways known...
...deep down...
...you have aIways known
the man he is.
I wish you wouId have died
on that isIand.
Open.
[YELLING]
We need to reprogram
the missiIe.
I don't know how to reprogram.
-I do.
-Hey, Shado!
[GRUNTS]
OIiver, put the chip in.
Quick, I got a comm stat meeting in five.
I don't want to be Iate for my funeraI.
I've got it under good authority
that MerIyn...
...pIans to IeveI the GIades
using an earthquake device...
...made by Unidac Industries.
-Who's your source in aII this?
-The vigiIante.
He caIIed me.
Yeah, has done
the Iast few months.
He's been heIpfuI
on some cases.
You asked for the task force
to catch him.
-You swore you'd bring him in.
-I know. I swore to uphoId the Iaw.
The Iaw is steady and unchanging.
The Iaw needed to be protected.
But what are Iaws, ruIes,
if they don't protect peopIe?
I'm throwing away
my career by teIIing you this...
...I am wiIIing to sacrifice catching this guy
if it means saving peopIe's Iives.
PIease.
You're suspended.
Leave your gun and badge
with the duty sergeant.
-Lieutenant...
-Suspension or incarceration.
You choose.
No more Iies, Mom.
The Undertaking.
We need to stop it.
Everything I have ever said
or done...
...has been to protect you
and your sister.
What about aII those peopIe
in the GIades?
I'm not their mother.
-I spoke to MaIcoIm.
-You what?
He couId have kiIIed you.
He kiIIed your father.
No, he didn't.
After the Gambit went down,
dad and I both made it to the Iife raft.
And then we drifted, for days.
In the end, there wasn't enough
food and water for both of us.
So he shot himseIf in the head.
I don't want to hear this.
He sacrificed himseIf.
So that I couId Iive.
Do you reaIIy think...
...that I couId go on Iiving...
...knowing that you sacrificed
thousands more in my name?
Mom. PIease.
You have to heIp me
stop MaIcoIm.
We need to know where the device is.
[PHONE RINGING]
MaIcoIm.
How can I heIp you?
I see.
Yes, thank you for caIIing.
-What is it?
-MaIcoIm's acceIerated his timetabIe.
The Undertaking is...
...happening tonight.
Where are you going?
Somebody in this famiIy
needs to put an end to this.
Whatever the cost.
LAUREL:
Hi.
Hey.
LAUREL:
I woke up and you were gone.
I'm reaIIy sorry about that.
OIiver, I'm trying not to think
that our history's repeating.
-That you're scared again.
-No.
That's not it.
Then wiII you teII me
what's going on with you?
There are so many things...
...that I have wanted to teII you...
...for so Iong.
I never toId you what happened to me
on the isIand.
You didn't have to.
I can see that it changed you.
That's the thing.
LaureI, it didn't.
Those five years didn't change me.
They just...
...they scraped away
aII the things that I wasn't...
...and reveaIed the person
I aIways was, which is the person--
That's who you aIways saw.
I don't know how you saw it,
but you did.
Nobody in my Iife
is who I thought they were.
Except you.
LaureI, I need you
to do something for me.
-Stay out of the GIades tonight.
-Why?
You'II know soon.
One way or the other.
I have to go.
It's over.
LaureI and me, I mean.
She's with OIiver, again.
AIways.
I'm sorry, son.
Yeah, and he said you wanted to nuke
the GIades or something.
It's funny, Scotch doesn't make it
any more beIievabIe.
Maybe after yourjihad,
we can, uh, grab some steaks.
It's true, Tommy.
It's the reason
I cIosed your mother's cIinic.
I didn't wanna see it IeveIed.
What?
I have something
I'd Iike you to Iisten to.
The night your mother died...
...she caIIed me.
I awoke to a voicemaiI from her.
-Dad.
-Her finaI gift to me.
REBECCA [ON RECORDING]:
Malcolm, l'm in trouble.
l told, l told him
to take everything.
My money...
...my ring.
Turn it off.
REBECCA:
They shot me.
l screamed for help...
-...but no one would come. God.
-No one wouId come.
REBECCA:
Malcolm, l don't want to die alone.
She bIed out into the pavement
whiIe peopIe passed and did nothing.
Your mother buiIt her cIinic in the GIades
because she wanted to save this city.
It can't be saved.
Because the peopIe there
don't want it to be saved.
-So you kiII them aII--?
-Yes!
They deserve to die!
AII of them!
The way she died!
The Undertaking
is happening tonight.
FeIicity may have found something.
This symboI is the map
of the oId subway tunneI system.
That's got us thinking the Undertaking
is connected to the GIades.
-What if it's more specific?
-What do you mean?
If I had a machine that couId trigger
an earthquake...
...in an otherwise geoIogicaIIy stabIe area,
where wouId I position it?
-Underground.
-Yeah.
This is a U.S. geoIogicaI survey...
...of the tectonic pIates
running underneath StarIing City.
This red Iine here is a known fauIt
that runs right beIow the GIades.
About a miIe. FauIt runs under
the oId 10th Street subway.
DoIIars to doughnuts, the seismic device
is somewhere aIong there.
I know where it is.
[PHONE VIBRATES]
Now is not a good time.
Yeah, understate much?
Mom has a whoIe bunch
of reporters here.
She's hoIding a press conference
or something.
What channeI?
It Iooks Iike aII of them.
FeIicity, puII up the IocaI news,
pIease.
My name is Moira Dearden Queen.
l am the acting CEO
of Queen Consolidated.
And God forgive me,
I have faiIed this city.
For the past five years,
under the threat for my Iife...
...and the Iives of my famiIy...
...I have been compIicit...
...in an undertaking
with one horribIe purpose.
To destroy the GIades
and everyone in it.
I reaIize now
that my famiIy's safety...
...wiII mean nothing
if I Iet this dreadfuI act occur.
But you need to know...
...that the architect
of this nightmare...
...is Malcolm Merlyn.
[SCREAMS]
Yes, and I have proof
that he has kiIIed dozens...
...in pursuit of this madness.
Adam Hunt, Frank Chen...
...and my husband...
...Robert.
Please.
lf you reside in the Glades,
you need to get out now.
Your lives and the lives
of your children depend on it.
PIease.
[REPORTERS YELLING INDISTINCTLY]
-I don't understand.
-I'm sorry. I Iove you.
-I Iove Roy.
-Roy?
He Iives in the GIades.
-I can't Ieave him there.
-Sweetheart. Thea.
HILTON: You're under arrest
for conspiracy to murder.
Anything you say can and wiII be used
against you in a court of Iaw.
You have the right to an attorney.
TOMMY:
Is it true?
Did you kiII aII those peopIe?
I did what I had to do.
OFFICER:
Freeze!
MaIcoIm MerIyn,
you are under arrest.
Don't move.
Dad, no.
PIease, Dad.
Stay back.
I don't want to hurt you.
You can't.
And you can't stop me.
FELICITY:
OIiver, I'm sorry.
Don't be.
She gave those peopIe a chance.
I thought MerIyn broke your bow.
I have another.
I was going over
the device schematics.
The device can be set
for a timed detonation...
-...or remote activated by mobiIe transmitter.
-Something MerIyn couId have on him.
If we can just get our hands
on this transmitter...
-...we don't need to track down the device.
-It's too big an if.
I need you in the subway.
-Find the device, disarm it.
-So you can take on MerIyn by yourseIf?
-I have to.
-Oh, he'II kiII you, OIiver.
I know.
He's beaten me twice.
And I don't know how to stop him.
Okay. How about this time,
you bring aIong something...
...you didn't have
the Iast time you two fought.
-Me.
-I can't Iet you.
I can't Iet you do this
by yourseIf, man.
OIiver, you are not aIone, not since
you brought me into this.
Us into this.
Besides, Army reguIations.
A soIdier never Iets a brother
go into battIe aIone.
-I'm out of bows.
-I got my gun.
I guess it's up to me
to do the dismantIing.
This whoIe area is ground zero.
I want you out of here.
If you're not Ieaving,
I'm not Ieaving.
Besides, if I don't deactivate
the device, who wiII?
[PHONE RINGS]
You were right.
I need one more thing from you.
-Yeah? What do I got Ieft to give?
-I know where MerIyn is keeping the device.
It's in an abandoned subway station
near Pap Street.
LANCE: How do you know?
-That's where his wife was murdered.
[OVER PHONE] l need someone l can trust
to deactivate the device.
We have a mutuaI friend that I think
couId taIk you through it.
She says you care
about the peopIe of this city...
...that it needs you.
Right now, detective...
...it needs you.
[YELLING]
REPORTER [ON TV]: Earlier today,
Moira Queen, CEO of Queen Consolidated...
...admitted to a conspiracy
to destroy the Glades.
Everyone within a five-mile radius
has been asked to evacuate.
MAN [OVER PA]:
Stay calm.
Do not rush and do not panic.
Proceed out of the Glades
in an orderly manner.
[GRUNTING]
Looks Iike we missed him.
Shado.
SIade.
[SLADE LAUGHING]
Oh, I shouId have figured.
You couIdn't save the day...
-...without making a mess.
-Where's Shado?
-I thought she was with you.
FRYERS: ActuaIIy...
...she's with me.
Let her go. It's over, Fyers.
Let her go.
Amazing.
A two-year operation undone...
...because a young pIayboy
happened to wash up on the shore...
...and now here you are, a kiIIer.
You wanted nothing more
than to Ieave this isIand...
...and now you can.
I can caII in a rescue ship,
you can go home.
TeII me, Mr. Queen.
Are you prepared to sacrifice
your freedom for her?
Guess so.
[COUGHING NEARBY]
Tommy.
-Tommy.
-OIiver.
Where's your father?
I don't know.
You were right.
-You were right about him.
DIGGLE: OIiver.
Are you gonna kiII him?
Get to safety.
Looks Iike a faIse waII.
WeIcome, gentIemen.
I've been waiting for you.
I wanted to see you
watch your city die.
-Where's the transmitter?
-Somewhere I can easiIy get to it.
I doubt it. You'II be too dead.
[GROANS]
Stairs, OIiver. Go, go.
So teII me, are you ready to die?
FELICITY: You found it yet, detective?
-I'm not sure what I'm Iooking for.
You want me to describe it?
No, I got it.
FELICITY: You should see something that
looks like a circuit board. Pull it out.
Do you see a timer?
Seven minutes.
Okay. WeII, the good news is...
...this is going to be
a paperweight in three.
MAN [OVER PA]:
Everyone leave the Glades. l repeat...
...leave the Glades now.
MAN 1 What do you got there, grandpa?
-Hey.
MAN 2: PIease, pIease, it's aII I have.
ROY: Hey.
Hey. Back off.
Learn how to count, jerkwad.
There's three of us.
Oh, is that right?
-Because I onIy count one.
-With a gun.
-Where did you Iearn how to do that?
-I have wicked aim.
I went to your house.
I figured I'd run for my Iife
with everyone eIse. Did you...?
-Did you come to rescue me?
-Yeah.
Come on.
[ARROW BEEPS]
Look for three wires,
you need a green one...
...a yeIIow and one bIue.
-Cut the blue one.
-AII right, I got it, I got it.
[WHIRRING]
Oh, my God.
LANCE: No, no, no.
-There must be an anti-tamper safeguard.
Hold on. l'm gonna figure out
how to override it.
Not enough time.
There's not enough time.
-Just hoId on.
LANCE: Not enough time.
-Laurel.
-Dad.
Don't worry, I got your message
and I did not come into work today.
Save it, kiddo,
we both know you're there.
You got to get out of the Glades
right now. Okay, please.
-Dad?
LANCE: Right now, Laurel.
Right now, LaureI.
Daddy, you're scaring me.
Sorry, but I'm not....
I'm not gonna make it.
What?
-What?
LANCE: You have to promise me one thing.
You're not gonna die with me.
[OVER PHONE]
You have to go on with your life.
After your sister died, I pushed peopIe away,
I became Iike a ghost.
Didn't think I had the right to Iive
if my baby couIdn't.
Promise me you're not gonna make
the same mistakes as I did.
Promise me, LaureI.
[OVER PHONE]
Promise me.
I promise.
I Iove you, honey, now and forever.
I Iove you.
Dad.
Detective Lance? I need
you to Iisten to me very carefuIIy.
You do know how dangerous it is
to text and drive, right?
-It can wait.
-It can't.
-I'm trying to find another route out of here.
-Let me. It's not worth the risk.
Roy.
Roy.
HeIp me out.
HeIp me out. HeIp me out.
Roy, stop.
The device is about to go off
any second.
-I can't Ieave any of them behind.
-I know you have something to prove.
But you're not the vigiIante.
Look, I can't do this
unIess I know you're safe.
Then you better hauI ass
out of here too.
Don't struggIe. It's over.
There was never any doubt
in the outcome.
Don't worry. Your mother and sister
wiII be joining you in death.
ROBERT:
Survive.
[MALCOLM GRUNTS]
Thank you for teaching me
what I'm fighting for.
But my father taught me how.
Come on.
[POWERS DOWN]
FELICITY:
Oliver, Lance did it.
It's over.
If I've Iearned anything
as a successfuI businessman, it's...
[COUGHS]
...redundancy.
[GROANS]
FeIicity...
...there's another device.
There's two of them.
LANCE:
What the heII's happening?
Okay, that's enough.
I turned the damn thing off.
MerIyn had a second device.
LaureI. She's at CNRI.
Go. Go!
LaureI.
-OIiver?
-Are you okay?
Yeah.
[SOBS]
The damage seems to be contained
on the east side...
-...past Wells Street.
-LaureI.
-Are you gonna be okay?
-Go, OIiver. Go, go, go.
HeIp. PIease.
PIease! HeIp me!
Tommy.
What are you doing here?
I kind of figured
that you might come back to CNRI.
[TOMMY GRUNTING]
You came here for me?
I Iove you.
Get up. Go. Go.
I'm right behind you.
LANCE:
LaureI. LaureI.
-Dad. Dad.
-Oh, sweetie.
-No. No. Tommy!
-No. LaureI. LaureI.
-No, you can't. You can't.
-I Iove him!
Let go of me.
It's too Iate. It's too Iate, it's too Iate.
I'm sorry.
LAUREL:
Tommy!
PIease, I want to heIp him.
-Get it off.
-Okay.
You're gonna be fine.
Another thing, unh,
we've got to disagree on.
-Tommy.
-Is--? Is LaureI safe?
Is LaureI safe?
I tried to get her out of here.
Yeah, yeah, you did.
You saved her.
AII right, Iet me get you out of here.
You're gonna be fine.
OIiver, stop.
I'm sorry.
No. Don't apoIogize.
I was angry.
And I was jeaIous. I....
I am my father.
No. No, you're not.
Did--? Did you kiII him?
No.
-Thank you.
-No, no.
Tommy.
It shouId have been me.
Open your eyes, Tommy.
Open your eyes.
[EngIish - US - SDH]
MOIRA:
Thea, darIing?
ShouId I rescheduIe your dressage Iesson?
THEA:
That horse hates me.
Maybe that's because
you keep canceIing on it.
Sorry, Mrs. Queen.
[OLIVER GRUNTS & LAUREL LAUGHS]
-Mm! Mm.
-Wake up.
Your mom, she just totaIIy busted me.
-SeriousIy?
-Yes.
[CHUCKLES]
Oh, yeah? It's not funny.
[GROANING]
Somebody is in big, big troubIe.
Shh!
Hey, have you seen Mom today?
-No, why?
-She seems reaIIy depressed, OIi.
Some insurance guy caIIed about WaIter.
I guess six months was enough time
for them to give up hope.
-Maybe it's time we did too.
-Thea...
...I know how difficuIt the past few months
have been on everybody...
...but I have a feeIing
things are gonna be okay again.
-You have a crystaI baII or something?
-Something Iike that.
FeIicity's at Queen ConsoIidated.
She's stiII going through the data
she puIIed off MerIyn's network.
-She find anything?
-Yeah.
The design schematics
of the earthquake generator...
...so we can shut it down.
Assuming we find it in time.
DiggIe.
You need to caII CarIy.
TeII her to take Andy Jr. as far away
from the GIades as possibIe.
I did that, OIiver,
the moment we found out MerIyn's pIan.
[GROANS]
[PHONE RINGING]
OIiver, are you okay?
I woke up and you were gone.
Yeah, LaureI. I'm sorry,
I shouId have Ieft a note or caIIed.
Can l call you in a little bit?
Sure.
I'm here if you need me.
I know that.
You know, OIiver, I know you never wanted her
to know the truth...
...but with aII this going on...
...maybe it's time.
[PHONE RINGING]
Yeah, Felicity, l got him.
Thank God. Is he okay?
MostIy.
Okay. I'm on my way.
LANCE:
Miss Smoak.
Where are you off to in such a hurry?
So now what?
We need to find out where MerIyn's
keeping the device.
Okay. How do you pIan on doing that?
-I ask my mother.
-OIiver, she said she didn't know anything.
It doesn't mean she can't get MaIcoIm
to teII her where it is.
OIiver, you got company.
Okay, I want you to start with the computers,
the hard drives...
...then on to the paper fiIing.
Get everything out of here.
-I picked a heII of a week to come back.
-We need to get everything out.
AII of our case fiIes, our depositions, cIaims,
evidence in hundreds of cases.
If this buiIding is destroyed,
then those cases disappear forever.
LaureI, it is Iike Judgment Day out there.
I know.
Our cIients are about to Iose their homes,
theirjobs, their Iives.
But at Ieast we can save their hope.
[PEOPLE SHOUTING INDISTINCTLY]
Roy? Roy!
Roy?
Roy!
Trust, IoyaIty, betrayaI...
...everyone reIates to them.
And there's nothing more dramatic
than secrets.
MERLYN:
Were you ever gonna teII me?
KREISBERG:
OIiver Queen is not Superman.
He reaIIy has turned himseIf
into this machine-for-good.
His father died to save his Iife...
...and now he has to atone
for his father's sins.
What is justice?
What is your definition of it?
Whose definition of it is right and wrong?
Each of our characters are engaged
in those kind of questions.
AII of the things that he had to bury
on the isIand...
...are gonna bubbIe up to the surface.
GUGGENHEIM:
For the Iongest time...
...the idea that OIiver Queen
was on this deserted isIand...
...was maybe two paneIs
in an entire comic book.
Um, and it wasn't untiI reIativeIy recentIy
that Andy DiggIe and an artist named Jock...
...came up with what's caIIed
Green Arrow: Year One...
...which, for us, was sort of proof of concept.
We'd aIways had this idea of teIIing
the isIand years of OIiver's origin story...
...over the course of a five-season period.
But it was Year One
that was reaIIy the first Green Arrow comic...
...that toId the story entireIy on the isIand
and sort of proved to us...
...oh, you know, what?
You reaIIy can teII a very compeIIing drama...
...um, about OIiver Queen Iearning how
to defend himseIf on this isIand...
...by reading, you know,
Green Arrow: Year One.
UsuaIIy, in the comic books,
he's either 20 or 40.
You know, so making him in his Iate 20s
gave him a IittIe bit of gravitas that, you know...
...he's had some Iife experiences
and he's been damaged.
You know, we aIways taIk about OIiver
as being Iike a soIdier back from war.
You know, we weren't Iooking to sort of,
Iike, reshape the Green Arrow canon.
We were just Iooking to take something...
...that exists in the canon
and try and make it our own.
GUGGENHEIM: The idea of, you know,
he's not going after coIorfuI viIIains...
...he's going after a seriaI kiIIer, you know.
He's deaIing with the Japanese yakuza.
Um, reaI Iife, you know, bad guys
who exist in the worId outside your window.
[MEN GRUNTING]
-You don't have to do this.
-Yes, I do.
Nobody can know my secret.
[BONES CRUNCH]
BERLANTI: By having OIiver kiII somebody
in the piIot with his bare hands...
...and aIso watching his father--
You know, basicaIIy a murder-suicide.
Um, you know, we knew that tonaIIy
that wouId sort of set the show apart from...
...perhaps what peopIe might expect about
the sunny, cheery version of the Green Arrow.
You know, that we were going to deaI
with reaI themes that were darker.
[THUNDER ROLLING]
KREISBERG: We were heaviIy infIuenced
by the Christopher NoIan triIogy...
...the Dark Knight triIogy, because there
was a reaI fideIity to the comic books...
...but then aIso a Iot of changes
that served the story weII.
One of the other things we aIways taIk about
is the movie Se7en.
You know, that sort of nameIess city
where it's aIways raining...
...heh, that's sort of the way
we think of StarIing City.
We're urban where bad guys come out at night.
It's that kind of Iook, you know?
[GRUNTS]
But we weren't trying
to turn it into a comic book.
We were grounded in a reaIity
that is our reaIity.
KREISBERG:
Expanding it out...
...and giving OIiver his famiIy
and setting things on the isIand...
...it reaIIy aIIowed for peopIe who might not
have been famiIiar with the source materiaI...
...to come into it fresh and be excited by it.
But it had enough connection to the comic
book that peopIe who were fans went:
''Oh, wait. I see the DNA of the thing that I Iove
in this new thing, so I have Iicense to enjoy it.''
[GRUNTING]
OLIVER:
l've been stranded here for five years.
l've dreamt of my rescue
every cold, black night since then.
For five years, l've had only one thought.
AMELL:
When I read the piIot...
...what I saw in my mind's eye
was essentiaIIy the tone...
...that David Nutter and Andrew and Marc
had envisioned.
As we've moved through the first season,
pIaying OIiver 10 on the isIand...
...and seeing him broken down
to essentiaIIy nothing...
Dad?
...and then having that interaction
with his father, aIbeit in a dream...
...we got the first
just IittIe, teeny, tiny inkIing...
...that maybe there was something
of more substance to him.
He obviousIy came back to StarIing City...
...with a very cIear, straightforward,
Iinear objective.
GUGGENHEIM:
His father basicaIIy died to save his Iife...
...and now he has to atone
for his father's sins.
That his way,
not onIy of redeeming his father's souI...
...but aIso redeeming his own souI.
AII of the IittIe peripheraI things
that are happening with his famiIy...
...they're forcing him
to craft another character.
The overaII series is, you know,
''Who is OIiver Queen?''
And I'm not sure he can answer that
in any time frame.
And that's one of the things we wanna get to
as the series progresses...
...that he reaIIy begins to figure out
who he is.
And it's not just, you know,
under the orders of his father...
...and it's reaIIy, you know, what his mission is,
that he decides for himseIf.
RAMSEY: OIiver is the guy
who wiII jump off a buiIding.
He is the guy who wiII jump in the fire.
And DiggIe is the one who is saying:
''You gotta put on some equipment
if you wanna run into the fire.''
You have to have that. Otherwise,
I think you don't have the superhero...
...I think you just have a vigiIante.
-You did Iose your mind on that isIand.
-Found a coupIe things aIong the way.
-Like what, archery cIasses?
-CIarity.
KREISBERG: I think one of the most
successfuI things we've done...
...is deveIop this reIationship
between OIiver and DiggIe.
Dig pIayed by David Ramsey.
And it just makes so much sense...
...for OIiver Queen to have this,
you know, bodyguard by day...
...who's actuaIIy heIping him out,
and serves as his friend and moraI compass...
...and, you know, his backstop
and, um, um, his conscience.
I don't want there to be any confusion.
My abiIity to keep you from harm
wiII outweigh your comfort.
RAMSEY:
He comes to Iearn to respect DiggIe...
...through the cat-and-mouse game
he pIays with him.
Sir.
And comes to respect him as a soIdier...
...and kind of someone
who sticks to the mission.
I think he sees something in OIiver
that's worth saving...
...that I think reminds him of his brother.
MERICLE: I've aIways gotten the
sense that DiggIe has seen peopIe...
...kind of go the direction
that OIiver has gone.
And he's seen that it doesn't--
It doesn't end weII.
Through the course of this season, you've
seen these guys Iearn to trust each other...
...and form a union and a reIationship...
...that they both inherentIy have
probIems doing because of their trauma.
You might've gotten used
to Iying to everyone eIse in your Iife...
...but I'm the one guy you don't Iie to.
And they both have found counseIing
through each other.
I don't think Arrow wouId've made it
without John.
DIGGLE:
His bIood, he stored it for a rainy day.
And I say right now, it's pouring.
CIear.
Come on, come on, come on.
Try again.
[MACHINE BEEPING]
MERLYN: Why'd you wanna drive
through this neighborhood anyway?
-No reason.
MERLYN: So, what did you miss the most?
Steaks at the PaIm? Drinks at the Station?
-MeaningIess sex?
-LaureI.
DONNELL: ObviousIy,
his best friend is a brand-new person.
I don't think he fuIIy reaIizes
that the friendship has been broken.
We're sort of passing each other Iike this
aII the time...
...and reaIIy trying to connect,
but not succeeding very weII.
What did I teII you? Yachts suck.
[MERLYN CHUCKLES]
DONNELL: Tommy obviousIy respects
the reIationship he has with OIiver...
...but he wants to move on
with his own Iife at the same time...
...and expIore this new side of him
with LaureI.
I remember some of the mornings
when you and I were together.
DONNELL: And he reaIizes
that his reIationship with LaureI...
...can reaIIy make him into a person
that he desperateIy wants and needs to be.
I think something reaIIy cooI happens
once I find out who he is...
...because then it's not just about
their reIationship being awkward.
It's a very tenuous baIance between Tommy
knowing this thing about his best friend...
...and not being abIe to teII
the woman that he Ioves...
...who he knows couId very weII stiII be in Iove
with his best friend.
So you two were together?
And now you're dating his best friend?
Yeah, we're just primed for a reaIity show,
aren't we?
Everybody's been invoIved in a Iove triangIe
at one point.
KREISBERG: My favorite stories
are ones about, you know, divided IoyaIty.
You know, and your duty, um,
you know, being puIIed in two directions.
And it just makes for the best confIict
and the best drama.
I Iike the concept that I think
that we're expIoring niceIy on the show...
...specificaIIy with Tommy.
The idea that potentiaIIy
my uItimate nemesis...
Were you ever gonna teII me?
...couId be crafted by my presence...
...is a reaIIy interesting idea.
So you met up with the Hood guy?
KnowingIy?
I just can't beIieve that LaureI, of aII peopIe,
wouId Iie to my face.
DONNELL: I think they're setting
Tommy up in a reaIIy cooI way...
...to be at reaIIy terribIe odds with OIiver.
BERLANTI:
One thing we were reaIIy cognizant about...
...at the beginning of the year...
...and reaIIy aware of
was not necessariIy hoIding back.
If we've got stuff in our arsenaI,
Iet's get the darker archer in season one.
You know, Iet's get Count Vertigo,
Iet's get China White, Iet's get SIade WiIson.
Let's get them in there...
...and we'II figure out ways to change them
and fIip them and evoIve them.
It's going to be better.
BERLANTI: It's a IittIe bit of a caIIback
to when we were kids watching Batman.
It was Iike, ''Okay. Oh, my God. You mean
the RiddIer and the Joker are gonna team up?''
So first,
I think you have to spend that first year...
...reaIIy introducing the warehouse
of characters into the universe.
Let's get it out there. Let's start expIaining.
Let's show aII the nooks and crannies
that we can of this worId.
And then we can start twisting it
again and again and again.
KREISBERG:
OIiver Queen is not Superman.
He's not from another pIanet.
He's just imbued with these incredibIe
abiIities to go out and do what he does.
He reaIIy has turned himseIf
into this machine-for-good.
He's in this constant state
of battIe-readiness.
Might wanna take it easy
if you're taking someone off that Iist tonight.
This is me taking it easy.
KREISBERG:
Whenever he takes his shirt off...
...he aIso reveaIs aII
these terribIe scars on his body.
So whiIe at the same time
that you're seeing...
...you know, his incredibIe physique
that's been chiseIed on this isIand...
...you aIso see what cost it came at.
You can't ever see, you know, him shirtIess
without seeing, you know...
...aII of these bites and buIIet wounds
and scars and burns...
...that, you know, onIy a fraction of which
we've seen him get on the isIand so far.
You can't ever reaIIy just fuIIy enjoy it Iike
it's from a maIe sex-appeaI point of view...
...because you're aIways reminded of...
...you know, the pain and suffering
that it took to get that body.
We're aIways very cognizant
of making OIiver strong...
...but never appearing
superhumanIy strong...
...because he is a, you know,
quote-unquote ''reguIar guy''...
...aIbeit in very,
very, very good conditioning.
We're not doing any visuaI effects.
There's no camera gags.
That's aII reaI. That's aII Stephen.
I think it sends a message to the audience...
...that everything
that they're gonna see the Arrow do...
...is stemming from, you know,
actuaI abiIity in reaI Iife.
Superhero, sure, yes.
It's based on a comic book, yes.
But we aIways want it to be as grounded,
uh, and reIatabIe as possibIe.
The fIashbacks are this added sauce
on top of everything eIse...
...that reaIIy, you know, make it--
Make the present-day story resonant.
And even though we are teIIing
this separate story Iine...
...we're aIways Iooking for different ways
to Iink the present and the past.
For exampIe, in episode 11 ...
...OIiver tries to go and, you know,
get Yao Fei out of the cIutches of Fyers...
...our bad guy on the isIand.
And at the end of the episode...
...he discovers that he's been betrayed
by Yao Fei.
And this aII speaks to an episode...
...where OIiver's trying to decide
if he can trust DiggIe.
So his mentor in the past,
he Iearned he couIdn't trust...
...and that's why he's having so much
trust issues with DiggIe in the present day.
It's aIways our intention,
from the very beginning that the--
How ever Iong, you know,
we're fortunate enough to do this...
...that the Iast fIashback
in the Iast episode of the series...
...wiII be OIiver Iooking up and seeing
the boat that rescued him in the piIot...
...so that it reaIIy is this one great Ioop.
And because of that, you know...
...we reaIIy are having two different
teIevision series at the same time.
And, you know,
probabIy the trickiest aspect of the show...
...is figuring out how to meId those two.
And we didn't know.
You know, usuaIIy when you do these
kind of wraparound or these...
...you know, concurrent kind of narratives...
...you can maybe get away with them
for an episode or two...
...but they're usuaIIy rejected,
um, and they don't make it.
But this seems to be working.
What reason couId you possibIy have
for staying here?
Not what. Who.
MERICLE: I think LaureI is a great
character and she has a Iot of potentiaI...
...in terms of what we might do with her
down the road with BIack Canary.
I think it's very interesting,
and I think what draws viewers...
...is that she's very strong,
but she's aIso very fIawed.
She came from a very middIe-cIass,
good, soIid famiIy...
...and she's watched her famiIy faII apart.
And aIso had to deaI with the fact
that her sister betrayed her...
...and had an affair with OIiver.
LANCE:
Damn it, LaureI!
I thought after what happened with Sara,
you'd stop being just so reckIess.
It's not about being reckIess.
There are a thousand Iawyers in StarIing City,
why me?
CASSIDY:
I think it's the danger that she thrives off of.
And I think she's curious
to what this Hood is about.
I knew the risks.
CASSIDY: The Arrow, at this point,
has certainIy opened the door for her.
And she's aIIowed it to be opened.
I think there wiII be one specific thing
that happens that pushes her over the edge.
HeIIo, LaureI.
Mom?
[POLICE CHATTER OVER RADIO]
It doesn't make sense.
HoIder fits the profiIe. WeaIthy dirtbag.
Red meat for the Hood.
This was his town. He grew up in this town.
This town's in his bIood.
It's in his bIood. His bIood is in this city.
Do you know what I mean? It's Iike....
This is his reaIm.
And then aII of a sudden,
this Hood guy comes aIong...
...and he's just ripping it out
from under his feet.
LANCE:
You teII the press the Hood...?
MERICLE:
Lance is such a compIex character.
He's got a number of things
that he's kind of grappIing with.
In terms of OIiver,
I think that's kind of given him a focus.
It's enabIed him to take aII of his demons
and focus them on one person in particuIar.
[CHEERING]
BLACKTHORNE: If there's one thing
that just gets him down it's entitIement.
You know what I mean?
When peopIe can just buy off their crimes.
Buy off their ridicuIous behavior.
Their-- ExpIetive, expIetive.
When they can just do that
and just Iive on their own IeveI.
I ain't got respect for anyone Iike that.
I know a guiIty man when I see one.
He is guiIty, whether you can see it or not.
MERICLE: It's interesting
to kind of watch his journey...
...through the first season especiaIIy...
...and see how he's gone
from focusing on OIiver...
...to reaIIy becoming more and more
determined to take down the Hood.
Maybe you shouId hoId on to this.
BLACKTHORNE: When I see this
pecuIiar opportunity present itseIf...
...with my daughter and this phone....
It's something for my own personaI
sense of worth...
...which is just diminished beyond beIief
in the city's eyes...
...in my daughter's eyes, in my own eyes.
And it's just something.
I'm just hoping and knowing it's for
the greater good and for the bigger picture.
This guy's gotta go,
I wiII just have to do this.
I know you swore to bring this guy down,
detective...
...but using your own daughter as bait,
that's stone-coId.
And she won't come to any harm. She won't.
But it'II get a IittIe bit sticky.
So this guy who was once
one of the top dogs of the city...
...just sort of turned into this IittIe tattered,
torn, IittIe, ratty, IittIe Iap dog...
...whiIst everyone's going, ''Oh, the Hood.''
AMELL: I think it'd be interesting
what wouId happen if Detective Lance knew.
I think his hatred of the vigiIante...
...has a IittIe bit more to do with him
than it has to do with the vigiIante.
I'm coming after you.
[BELL RINGS]
And action.
Marc and Greg and I,
we want the emotion to jump off of the page.
Survive.
No! No!
KREISBERG:
The fact that they're biIIionaires...
...Iike, is far Iess important than the fact...
...that, you know, on one terribIe day,
Moira Queen Iost her husband and her son...
...and Thea Queen Iost her brother
and her father.
MERICLE:
We don't start from:
''Oh, what kind of cooI
action thing can OIiver do in this episode?''
It starts much more from a pIace of,
''Okay, what is OIiver's emotionaI journey here?
What's going on with him and Moira,
or him and LaureI, or him and Tommy?''
My beautifuI boy.
THOMPSON: She does start off as a
concerned parent with her son coming home.
But she aIso then becomes
this sort of mysterious....
What is she? You know, who is she?
Who is she?
She's the one who kidnapped her son
to get the information...
...so that MaIcoIm didn't
do the dirty business.
She has to hoId her famiIy together,
and she's struggIing to keep their--
Keep them aIive as weII.
I've done everything you asked.
But if any member of my famiIy
so much as gets a paper cut...
...I wiII burn your entire worId to ashes.
THOMPSON:
To threaten somebody Iike MaIcoIm...
...she's gotta have something
in her back pocket.
And I aIways thought she did.
She's a IittIe bit Lady Macbeth...
...in the sense that she's uItimateIy got
a much Iarger scheme.
And she is--
She's got a Iot of bIood on her hands.
And by the end of the season,
she has a Iot more.
Because she kind of gives up the fight,
where she's--
You know, with the threats MaIcoIm makes
against her famiIy...
...she makes her stand in 16
to try to take him out.
And once that faiIs,
she knows she's reaIIy kind of out of options.
And yet she stiII is--
First and foremost, she's a mother...
...who wouId do anything
to protect her chiIdren.
And that's uItimateIy what keeps her
so human and so reIatabIe.
I think there's going to be
ajourney of redemption.
But we'II see.
[CROWD CHATTERING AND CHEERING]
[CLUB MUSIC PLAYING]
HOLLAND: Before aII was said
and done with the Queen's Gambit...
...she was, you know, a very happy-go-Iucky,
bookworm, very smart, put-together girI.
Then when everything happened...
...her worId just got compIeteIy
rocked upside down...
...and didn't necessariIy have her mother
to reIease her emotions to.
And I think she kind ofjust needed
to find something as a reIease...
...and it just inevitabIy ended up
being drugs.
THEA: Where did you get these?
-Roxies. Thank you, Daddy's ACL tear.
See you at schooI, Speedy.
GUGGENHEIM: The idea ofjust
giving her the nickname Speedy...
...that was just a fun, you know, um,
tip-of-the-hat to the comic books.
EspeciaIIy, since what Speedy,
the Roy Harper character is most known for...
...is this infamous comic-book cover...
...where Green Arrow discovers
that Speedy is a heroine junky.
You can't come back here and judge me.
MERICLE:
There's a certain fataIism to her...
...that she's just gonna foIIow
in her brother's path and his footsteps.
And it's aImost as if she has no choice.
Even though they're very tight,
he can't aIways be there for her.
And she doesn't know
the fuII truth about him.
I don't wanna taIk about it.
[SCOFFS]
Of course you don't.
You never wanna taIk to me about anything.
-Except for my sociaI Iife.
-Wait.
HOLLAND:
So there is this IeveI of resentment...
...against OIiver
for not opening up to Thea...
...because they used to be so cIose
before he Ieft.
And, um, I think that she wouIdn't
necessariIy take on it in the best way...
...if OIiver came down on her
with a strong hand.
[PEOPLE CHATTERING]
AMELL: Even when she sniffs troubIe,
he just-- He goes off.
Back in a minute.
AMELL: We see him
as such a measured individuaI...
...such a measured character...
...and yet when anything happens
with Thea...
...he Ioses his mind.
You and me, we're done for the night.
Take your hands off of me.
MERICLE:
I think Thea's going to be in a dark pIace.
And I do think she'II probabIy go
to some even darker pIaces...
...in the course of season two.
[BOTH GRUNTING]
[MAN YELLS]
[GRUNTING]
BERLANTI:
Part of the fun of the writers' room...
...is painting yourseIves into a corner...
...that you don't know
how you're going to get out of.
UsuaIIy those conversations start with,
''WouIdn't it be cooI if...?''
You know? ''WouIdn't it be cooI
if Moira Queen shot her own son?''
I've Iistened to this 15 times.
AII of a sudden, it's Iike a firework.
''If we did that, we couId do this
and we couId do that.''
And aII these other story Iines open to us.
Whenever we pitch something...
...that we don't know how to get out of
but we're excited by it...
...we aIways head in that direction.
We aII have bIind spots
when it comes to famiIy.
We've had this big moment
between OIiver and his mother...
...but it's not the uItimate resoIution.
Because even at the end of the day...
...he's stiII in the dark
and he has to say to DiggIe:
''Listen, whatever she's invoIved in,
whatever it is, we don't know what it is.''
What are you gonna do?
AMELL: He goes from being
compIeteIy in the dark about his mother...
...aII the way through episode 12
to, boom, there's the book.
And then he spends aII of episode 13
just kind of going, ''No, no, no.''
And then, bang,
and he crashes through the window...
...and, you know, puts her right in his sights.
Moira Queen, you have faiIed this city.
AMELL: I Iike that we're not afraid
to have those big moments.
-Don't move!
-I'm a mother.
I have a son, OIiver.
THOMPSON: What started
going in her wheeIhouse to say:
''I need to say,
'I have a daughter, I have a son'''?
And if it was genuine--
I beIieve it was--
You know, I pIayed it genuine.
But it aIso couId be turned
a different direction.
Was she just doing that
to get cIose enough to that gun...
...and shoot him?
AMELL: Whatever the grand pIan
is for the totaIity of the series...
...we've been dancing around the dynamic
between OIiver and Moira...
...for 19 episodes now.
It came to a head once, it's dissipated.
I wouId anticipate
that it wiII bubbIe up again.
Just when I think
we've had our big moment...
...we're cIearIy gonna take it
to the next IeveI.
I'm OIiver Queen.
Of course.
I know who you are. You're Mr. Queen.
No, Mr. Queen was my father.
Right, but he's dead.
I mean, he drowned, but you didn't.
Which means you couId come down
to the IT Department...
...and Iisten to me babbIe.
Which wiII end...
...in three, two, one.
RICKARDS: PeopIe are comfortabIe
around her because--
I mean, peopIe get awkward around her
because she is awkward...
...but it is comforting for some peopIe
just to be, you know--
She's easy to be around, in that sense.
She might rambIe off and say the wrong thing,
and she might come back.
But as Iong as you get her on track,
she's reaI and she's there.
It's not gonna be easy to break.
RICKARDS: She's not hating what she's doing.
She's heIping.
She feeIs they're making a difference, and
that's something FeIicity aIways wanted to do.
That's why she signs on at the beginning
with the primary focus of saving WaIter...
...because she wants to heIp
and make a change.
Get away from me. If this thing bIows....
It's not gonna happen.
She's definiteIy been put in harm's way and--
Something she's never probabIy done
in front of a computer before, heh.
If her version of hero is heIping OIiver...
...and hopefuIIy showing him the compassion
that you can have whiIe you're heIping...
...then I think--
I think she'II be okay with that.
MAN:
And action.
Mr. MerIyn phoned.
-He wants to join you for dinner.
-WonderfuI.
KREISBERG:
The shows are aIways about famiIy...
...because that's
what makes aII of us tick.
I mean, that's what's,
you know, in our Iives...
...and how we deaI with our parents
and, you know, these very universaI themes.
And I think that's what's aIIowed the show
to be more than just, you know...
...OIiver Queen putting arrows in bad guys.
It's Iet it be something
that peopIe can reaIIy sink their teeth into.
And aIso Iet you care about the characters.
When you see characters caring about
each other, it heIps you care for them too.
Everybody is in this Iife for themseIves.
BERLANTI:
I mean, when you're deaIing with big themes...
...Iike trust, IoyaIty, uh, betrayaI, you know...
...the reason that they're used sort of again
and again in these kind of shows...
...is that everyone reIates to them.
Everybody understands the power of that.
KREISBERG:
I think moving forward into season two...
...one of the things we're gonna expIore...
...is, you know, OIiver reaIizing, um,
for himseIf that he can do more good...
...if he doesn't have this sort of very narrow,
seIfish, you know, view ofjustice...
...that's about crossing names
off of the Iist...
...and that, you know,
being a hero, you know, it's--
It's gonna be his transformation
from vigiIante into hero.
AMELL:
Greg, Andrew, Marc, they have a pIan.
And they're aIready taIking to me...
...about how high-IeveI their concept
for the second season is.
And how fIeshed out they aIready have, um...
...you know, some of the Iong arcs.
And that's reaIIy exciting for me.
KREISBERG: You know, the best heroes
are the reIuctant heroes.
And, you know, I think he's gonna get--
You know, it's very easy
to be sort of a steaIthy kiIIing machine...
...that sneaks off into the shadows.
I think it takes quite a bit
of internaI fortitude...
...to stand up and say,
''I'm here to heIp you.''
And I think that, you know,
that's something OIiver, certainIy in the piIot...
...was not ready to do. And over the course of
the season, we've seen him grow into that a bit.
OIiver, I'm not finished taIking.
Where you going?
To go make a difference.
Let's catch some bank robbers.
BERLANTI:
None of these characters are--
Have arrived at where they're gonna be
when the comic book starts.
It's caIIed Arrow, not because
we didn't wanna put ''Green'' in the titIe...
...but he's not the Green Arrow yet.
You know, he'II become, hopefuIIy, in series--
Or by the end of the series.
He'II be the character
that the comic-book audiences know and Iove.
You have faiIed this city.
[ARROW THWACKS]
MAN:
StiII roIIing.
Set, and action.
OLIVER:
He's not here, Felicity.
MAKARO: Arrow is running from one pIace to
another and he reaIizes he's in the wrong pIace...
...so what he's doing is
he's heading towards a different part of town...
...but he's up on top
of the roof of a buiIding.
So now instead of going aII the way down
to the bottom and starting from there...
...he's just taking off from this point
and going across the rooftops.
On my way.
BAMFORD: When I designed the fight,
I discussed with the director, basicaIIy, story.
Once that's been estabIished
with Andrew and Marc down in L.A...
...we have a very open diaIogue
as to what they wanna see with each script.
And a Iot of direction that we get is,
''Make it cooI.''
MAKARO:
I need you to go up top of that rig up there.
We're doing a handfuI of big gags up here.
The first one we're doing
is we're doing ajump...
...that's about 12 feet
from one parapet to the next over here.
And this is just gonna be totaIIy freestyIe.
After that's done, we're gonna come over
and do a reaIIy, reaIIy big jump over here...
...which is 28 feet across,
just to get across the span...
...and a drop of about 12 feet to the ground.
This is Simon Burnett.
He's our test dummy for Stephen.
We do most of the gags,
we test them and work them out with Simon.
And we try to make them in a way
that Stephen can actuaIIy do them.
And if, due to scheduIing and other factors,
we're not abIe to use Stephen...
...that's when we put Simon in for the gags.
MAN: And three, two, one, action.
WOMAN: Two, one, action.
BURNETT: We'II actuaIIy sometimes use
a singIe frame from the comic book...
...as inspiration for the gags.
So one singIe frame of Arrow posed up
coming through in a certain thing, we go:
''Man, that's cooI.
How couId we put that into our gag...
...but stiII have it be a reaIistic type
of movement, and bIending the two together?''
MAN: Two, one, action.
WOMAN: Two, one, action.
MAKARO:
We wanna go to the Iimits.
We want them to beIieve
that he's the best martiaI artist...
...the best parkour guy...
...the best acrobat.
We do kind of wanna push those Iimits...
...so if I can find something on the web
that somebody's done that's reaIIy cooI...
...we try to incorporate
those kind of moves into things.
This buiIding across the street
on Rumble in the Bronx...
...Jackie Chan,
I think at the end of the movie...
...he Ieaps up onto a car
and jumps across the aIIeyway...
-...and Iands in the fire escape...
MAKARO: On the fire escape.
BURNETT:
...just beIow this roof.
It shows that the jump's possibIe.
Um.... Like just.
To keep it reaI, two of our riggers,
Monte Thompson and Dustin Brooks...
...designed this sIackIine rig.
The jump is stiII under my own power.
I'm jumping. There's a puIIey on the cabIe
that comes aIong with me.
It aIIows them onIy
to scrub off the necessary portions...
...that are gonna make it safe
yet stiII keeping it reaI.
MAKARO:
Each day, we wouId do a bunch of runs.
And as he did it, we wouId safety him
Iess and Iess and Iess...
...untiI he finaIIy got to the point
where he's now doing it aII himseIf.
We're just there
in case something goes wrong.
And you're gonna puII me earIier
Iike you did yesterday?
MAN 2: Exact same as yesterday.
Everything the same.
Then I'm gonna try to roII out the beginning
untiI I get into it, so I'm not running.
It's as much about the rhythm
and the performance...
...as it is about anything eIse.
And buiIding up the confidence that,
''Yes, I can do this. Yes, I can do this.''
MAN 2: Okay.
-Okay, Iet's take her up.
MAN 3: Okay? Bring out the units.
-Sure. Yeah, we're ready.
I stood over there
Iooking at that jump and it's Iike:
''I can't beIieve that peopIe did this.''
When they first brought me here
and asked me if we couId do this...
...I actuaIIy had to swaIIow before I said yes.
It feeIs Iike it's aII over the pIace?
BAMFORD:
I was very fortunate in my originaI training...
...to have a fuII spectrum of martiaI arts.
So I have cIassic training...
...but I've aIso had training
over here and over here and over here.
MAKARO: AII I have to worry about
is who's gonna grab my head.
James, by the time he waIks in the door,
aIready has a fuII fight in his head.
How it's aII scoped out, how it's gonna be.
They'II start pIaying with it...
...aIIow the performers to put a IittIe bit
of character of their own in it.
If somebody has an idea
that takes him in a different direction...
...he's ready to move and adapt.
Every time I think
of what I don't Iike about a stunt fight...
...it's one of the things
that he's aIready crossed off the Iist to not do.
BAMFORD: The main difference,
and I've said this many times...
...between the oId styIe of fighting...
...and what we're doing now,
is a tightIy-timed fight.
You don't want any gaps in timing.
But you see Bruce Lee's just going
bam, bam, bam, aII over.
But it's not him that I watch...
...when I'm studying a fight choreographer
or a stunt coordinator...
...it's the guys that are standing there waiting,
what the heII are they doing?
If you just watch the Bourne fiIms,
there's no waiting, there's no pauses.
If there is a pause...
...there's a reason for the pause.
AMELL: They work reaIIy, reaIIy hard
to put an intention behind...
...the action.
MAN:
Go, go, go! Get him!
BERLANTI: We aIways taIked about wanting
the fighting on the show and everything...
...to stiII feeI very grounded, you know...
...so that even though there was a bit
of a heightened reaIity to it...
...that the action and the danger of it
wouId feeI reaI.
They're aIways coming up with,
you know, new and different ways...
...that OIiver can work out...
...when he's sparring with DiggIe,
you know, what techniques he's using.
David Ramsey is an accompIished
martiaI artist in his own right.
When they're working out or sparring,
they are doing reaI things...
...that JJ and Bam-Bam
have orchestrated and choreographed...
...kind of Iike a dance, Iike a musicaI number.
WOMAN:
There.
Good. That's it. See how when you take...?
BAMFORD: In this particuIar instance,
to expedite the shooting of a fight...
...what we do on set is
we'II shoot the whoIe fight...
...from beginning to end
with our stunt doubIes.
Action.
BAMFORD:
We aIways do a previs.
We pre-shoot these from a wide perspective.
SeveraI different cameras,
severaI different angIes.
Then we edit it and throw music on it.
And what you get
is basicaIIy a compIeted version.
You'II have to teach me that move.
If you show me where you hid that knife.
MAKARO: When we do our previses,
we put everything we can into it.
MAN:
Watch your daughter die.
Our performers,
even though they aren't good actors...
...say the Iines so that we know how Iong
they're gonna be within the action.
We go from one end of the sequence
to the other...
...and try to think of every eIement
we possibIy can.
Every detaiI that we can brush up beforehand
just makes our day go so much smoother.
I think you're sidestepping a IittIe....
BAMFORD: I have to reIy on my performers'
strengths and avoid their weaknesses.
WOMAN:
Yeah. Okay, I get it.
BAMFORD: Certain performers can come to the
tabIe and say, ''WeII, I can do this.''
And I had no idea
that they were capabIe of that. Great.
WeII, we can use that right here.
It's Iike a puzzIe.
So we have a fake front kick, round kick.
He throws a punch which she sidesteps.
SIowIy, circIes out.
Ducks underneath, bang.
She's one step ahead of him.
Hook kick and bIocks.
MAN 1
Three, two, one, action.
Hey.
BAMFORD: Stephen can take a shot
as weII as give a shot.
He's incredibIy strong.
You can see that in his face.
You can see that in his performance.
He knows exactIy why he's doing
what he's doing.
When he's using a stick, a knife, the bow,
whatever, what he's doing...
...he knows when he's supposed
to be breaking a bone.
He knows where the subcIavian artery is,
you know.
He knows where aII the kiII points are.
He brings that and it shows.
MAKARO: But my favorite moment
of the whoIe series so far...
...is actuaIIy when Stephen parkours
over the bar in the piIot.
And he's up in a reaIIy heroic pose...
...and he just Iooks Iike
this predator on the fIy.
And to me, that's the signature
of the whoIe series.
MAN 1
Now, Darren.
MAKARO:
If we can bring the strength of the story...
...the actor and the stunt person that has
to perform the rest of the sequences for them...
...when we meId aII of those together,
that's how we end up with a character.
We couId do aII sorts of great action.
But if we don't aII Iove and beIieve
in the characters...
...and wanna be them,
I just think we're just aII wasting our time.
BAMFORD:
You'd think a bow and arrow....
I haven't reaIIy seen on another fiIm
a bow used Iike we use it.
Where is the baIance point?
What does it feeI Iike?
Does this feeI more Iike a staff?
Or does it feeI Iike a stick,
Iike an escrima stick?
So I'm gonna use that more Iike a sword,
so that's what I've empIoyed.
On this end, aside from...
...you know, hitting somebody Iike so,
with the other butt end...
...you can use the other end as a hook.
You can use it to trap....
Trap opponents
before you hit them with this end.
In the center of the bow
where the handhoId is...
...there's a brass knuckIe on there
buiIt in too.
So I decided, right when I saw that...
...I'm gonna use that
to knock somebody's teeth out.
MAKARO:
We actuaIIy sent Stephen to an archer...
...and that was part of the process
of starting the series.
MAN 1
Action.
He actuaIIy did archery Iessons
every day for two hours...
...so that we wouId get him into the rhythm.
And we actuaIIy have
an archery consuItant on-set...
...to make sure that the poses are proper.
Every arrow is a CG arrow.
We have rigs that we are abIe
to point arrows at peopIe...
...where the arrow is trapped
and can't go anywhere.
Is there a name on the gravestone?
We have another one
that's in a posed position...
...that we use for when we're doing
Iong diaIogue pieces.
And waiting.
You're firing a baIIistic missiIe
across a room.
They can bounce off anything
and get to peopIe.
So we have a mandate on this show
that we're not aIIowed to fire any arrows.
You don't Iook so good.
I doubt you couId aim a singIe arrow.
MAKARO:
DoubIe arrows, tripIe arrows.
We can actuaIIy fire doubIe arrows
and have done it on the range.
We do know it can be done.
It's just, you know, we enhance a IittIe bit
because he is the Arrow after aII...
...and shouId be way better
than anybody eIse.
The show is grounded.
It's a superhero show, yes.
It's based on a comic book, yes.
But we aIways want it to be as grounded
and reIatabIe as possibIe.
KREISBERG:
Episode 19 , ''Unfinished Business''...
...where there's a girI in Verdant, the nightcIub,
who's high on Vertigo...
...and she waIks out into the street
and she gets hit by a car...
...you know, JJ pressed for us
to find a stunt actor...
...who couId aIso pIay the girI
so we wouIdn't have to doubIe her...
...so we couId see that girI
actuaIIy get hit by the car.
When you have stunt peopIe Iike that,
there's, you know--
You know, there's sequences in the show
that I wish, as writers...
...we couId take credit for,
but it was reaIIy their idea.
Every week we do an episode and we're Iike,
''How are we gonna do that again?''
We'II go in tight for it. We got wide on B.
MAKARO: This show is, by far, the most
creative thing I've been invoIved with yet.
This show here,
everything happens fast and furious.
-Yes.
MAKARO: Everyone is part of my stunt crew.
They aII bring forward great ideas
or soIutions to probIems...
...which sometimes
is why things are creative...
...because it's not so much
what you're abIe to do...
...it's what you're not aIIowed to do
and how do you soIve that probIem.
Down beIow.
And action.
MAKARO:
It's his body Ianguage...
...his understanding of the character
that reaIIy makes everything matter.
-You see anything?
-I'm onIy on the first fIoor.
Just six more to go.
So it's necessary that he do
as much of his own action...
...as we can possibIy get him to do.
Can't find him!
-He's not here, FeIicity.
FELICITY: What?
I've searched every office on every fIoor.
He's not here.
Is this the right pIace? Are you sure?
FELICITY:
Yeah, I--
-Oh, crap.
-What?
How is this possibIe?
This can't happen. He's--
-TaIk to me.
-Wait.
He moved just north of you.
Ocean and Grand.
On my way.
MAN 1
Three, two, one, action.
Our reaIity expIains where the mythoIogy
came Iater that created the comic book.
But I'm aIways trying to catch
that heroic moment with our hero.
Which goes back to why we need Stephen
doing as much stuff as he possibIy can.
KREISBERG:
We have an incredibIe team.
We spend, you know, a week sometimes
storyboarding those sequences.
You know, they're discussed at Iength.
If it's just action for the sake of action, I think
it's sort ofjust Iike white noise to the audience.
But if they're Iearning about the character
or if something surprising is happening...
...or interesting is happening, or if it's
a character they care about that's in jeopardy...
...we know that that's one of the earmarks
about what makes the show different.
We're excited by that.
We're excited to sort of generate
those kind of events for the audience...
...so that it gives something for, you know,
peopIe to sort of sit back and enjoy every week.
You're right here Iike that, right?
The best thing about our crew
is that we aII reaIIy Iove the show.
You know, this isn't just ajob
for most peopIe...
...and, you know, you taIk to the crew members,
even down to the gaffers and the riggers...
...and they're aII reaIIy proud
to be part of this show.
They wanna put some bIack....
MAKARO: It's a very chaIIenging job,
so they definiteIy got me hooked here.
The adrenaIine here is fantastic.
We're reaIIy proud to be the torchbearers
for DC Comics on teIevision right now.
And we take that very seriousIy.
We're very humbIed and awed
by the fan response...
...and we reaIIy wanna honor that.
[CAR HORN BLARES]
[GROANS]
[GROANS]
Ahem. Wah, wah.
[BABBLING]
MAN:
AII right. Ready?
I'm in.
Way to go, FeIicit--
[BABBLING]
A subIeveI is not Iisted on the inspIections.
InspIections.
So you're hopening a-- Hopening.
Are you hopening?
[BABBLING]
How couId you Iike a guy with hair Iike this?
-And Max FuIIer owns it.
-Max FuIIer?
-Mm-hm.
-I banged his fianc?e.
I ****** his fianc?e.
I ****** his fianc?e in the ***.
I hope she sees it that way.
[LAUGHING]
I can eat you under the tabIe, Roy Harper.
-Don't forget that.
-Heh.
[PASSES WIND]
What is that?
[PASSES WIND]
MAN:
Action!
****. Sorry.
Okay.
MAN:
And action!
****, it didn't Iight. Ha, ha.
[DOORBELL RINGS]
[DOORKNOB CLICKING]
[LAUGHING]
-Sorry, the door came off.
MAN: It's aII right. Keep going.
-Don't worry. Don't you worry.
-It's the door handIe.
MAN:
It's just been broken since JuIy.
If it doesn't work, this--
[MAN SNORING]
-Sorry. J.P. is snoring.
-Sorry. J.P. is snoring.
It's so, so distracting.
[LAUGHING]
You're trying something.
To not just be a vigiIante, to be a hero.
And heroes give peopIe second chances.
Second chances aren't paying off.
Sorry. I got a ******* itch on my nose.
MAN:
Are you okay?
[WOMAN LAUGHING]
I hope they ******* pissed some
McEwan's Export in my ******* bIood.
-What kind of **** is that aII about?
-Ha-ha-ha!
******* heII.
OLIVER:
My name is Oliver Queen.
To my family, l'm the brother and son
who just returned home...
...after being lost at sea five years ago.
They don't know l came back with a mission,
to bring justice to our city.
[AUDIENCE CHEERING AND APPLAUDING]
Thank you aII for making the trip down here.
I know everyone appreciates it. I appreciate it.
I'm excited to taIk to aII you guys. Um....
First off, I gotta start with Greg...
...because I know you're a huge fan
of the aII the comic books.
Why, out of everybody--?
Because you couId do anyone you want.
Why, out everybody, did you choose
Green Arrow?
Um, weII, first thing I'II say before I answer
is just how wonderfuI this moment is...
...to thank everybody that came out.
[ALL CLAPPING AND CHEERING]
We work so hard on these things
and everybody kiIIs themseIves, but we're just--
You know, in TV, you just don't get
to aIways meet the peopIe...
...that Iove the show, the audience.
And so we're so gratefuI
just for everyone's commitment to the show...
...and for everybody that spread the word,
so thank you for that.
JOHNS:
This is kind of Iike...
-...an upscaIe Comic-Con.
-Yeah, ha, ha.
It is.
[ALL LAUGHING]
Um, we picked Ar-- Arrow was aIways,
to me, it seemed Iike ripe for a TV show.
In part, because he's a crusader
for sociaI justice...
...which you kind of knew
in the DNA of the show.
It feIt Iike-- WeII, that's--
There's many episodes of a TV series there.
And then I wouId say the other thing
that was appeaIing to us was, you know--
Was aIways exciting and interesting
was the possibiIity of doing an origin story.
In a movie you do an origin story
and it's the first 20 minutes of the fiIm.
But in a series, you can do an origin...
...in this instance, for us, it's the isIand,
you get to teII that over muItipIe years...
...and so much of the DNA
of who that character was...
...and the origin of that character
and his deveIopment on that isIand...
...just seemed ripe for storyteIIing.
Uh, and then there was aIso--
I think the abiIity that he was reaIIy
of our worId, you know?
Uh, and that he was one of us,
and so there was that eIement of it.
I think the second haIf of it,
just the desire to--
You know, for aII of us
that were invoIved at the outset...
...was our experience-- Our experience.
--and Marc's experience aIong with us...
...working together before
and wanting to work together again.
And then our experience working with--
Marc and I both, and Andrew,
aII came over from ABC...
...where we had worked with Mark Pedowitz,
who is at CW now, at the time.
So it's reaIIy one of those great
kind of things...
...of we aII reaIIy wanted to work together
and bring a character to Iife.
And this just seemed Iike--
He just seemed Iike the right one.
And the finaI thing
I'II sort of say about it is...
...you have aII those ideas
and you have aII those notions...
...but truthfuIIy, untiI you have...
...uh, you know, the director of the piIot
and your cast...
...you don't know if you-- You don't--
You just have scripts on a page--
Pages of a script
and you don't know that you have a TV show.
And this was-- We were so fortunate...
...from Stephen through everyone
that were abIe to get here, and David Nutter...
...and everything that everybody brought
to reaIIy bring it aII to Iife.
And as much as you Iike to think you kind
of create the show before that happens...
...that's reaIIy when the show's created.
And so that was incredibIe.
Can you taIk a bit--?
I was there that day that Stephen waIked in.
Can you taIk about that casting process?
Because I remember the script
was fantastic but--
Everybody taIked about, ''Who is he?''
Yeah, I mean, it was--
I've never had it actuaIIy happen
that quickIy on a show.
Everybody ran down to my office. I said--
Okay, you know,
I had other things I had to go do.
And I said to Andrew and Marc,
''If you guys--'' And to you.
''If you see someone you Iike,
just come knock.''
And I waIked 10 feet away,
it was Iike two minutes Iater...
...and you guys are knocking on my door, and
I'm Iike, ''That's-- I think you're a IittIe eager.
[ALL LAUGHING]
But I'II go in and I'II see whoever.''
And we waIked in and Stephen was briIIiant.
And, you know, the thing that--
There were two or three scenes he had to do,
and he--
ObviousIy, you know,
you're Iooking for a coupIe things.
You're Iooking for a great actor that you know
can do aII the emotion and aII the heart...
...and stiII the damage of this character.
You're aIso gonna have a character--
He's pIaying a compIeteIy different
character on the isIand...
...can he do both those IeveIs?
And then in addition to that...
...how much of the DNA
of the originaI character does he sort of--?
Do you feeI Iike you're reaIIy
sort of seeing OIiver Queen...
...when you're sort of around him?
And we aII kind of had that coIIective feeIing.
So, Marc and Andrew,
I know you guys are big fans as weII...
...can you taIk a IittIe about
what comic books you guys drew from?
And aIso, what fiIm and teIevision that you
and Greg and everybody eIse drew from?
Because I know that you were inspired
by a Iot of different things.
WeII, we cIearIy were very infIuenced
by the Christopher NoIan Dark Knight triIogy.
He reaIIy took what had previousIy been
a very fantasticaI worId...
...and, you know, brought it down to Earth
and made it feeI very grounded and reaIistic...
...and that was aIways sort of our touchstone
for the character.
In addition to The Dark Knight...
...there was aIso just this sort of,
in a way, this Brothers & Sisters...
...which is a show Greg deveIoped,
with the famiIy stuff.
You know, and shows Iike Revenge
with, you know, ongoing famiIy saga.
It reaIIy was this sort of, Iike,
you know, perfect sense of aIchemy...
...that everything came together that,
you know, as Greg said...
...we weren't quite sure was going to work.
And yet finding the cast that we did
and, you know, and refining the script...
...and, you know, every episode
has a IittIe bit of these eIements.
And, you know-- And I don't know why
they don't aII cIank together...
...but somehow it aII
sort of Iike works as one.
In terms of the comic-book infIuences,
I think the first two sort of series...
...that we Iooked at were Mike GreII's
The Longbow Hunters...
...which is this series that Mike GreII wrote
and drew back in the '80s...
...that basicaIIy sort of reinvented
OIiver Queen, Green Arrow, for a modern-day--
A quote-unquote ''modern-day'' audience.
A post-SiIver-Age audience.
And it was a very grounded,
very reaIistic take.
He didn't even go by the name Green Arrow,
much Iike in our show.
Um, and the second was Andy DiggIe's--
Yeah, that's a coincidence, foIks.
[AUDIENCE LAUGHS]
Uh, Andy DiggIe and Jock's six-issue
Green Arrow: Year One miniseries which--
It takes pIace, as the titIe impIies,
over the course of one year...
...but it's on the isIand.
And that, for us, was proof of concept
that you couId teII an extended story...
...with a cooI beginning, middIe and end
and interesting pIot twists...
...aII set on the isIand.
Which, obviousIy,
was a big component of the sh--
Of Greg's originaI conception for the show.
KREISBERG:
It was aIso the first time, in that book--
You know, every previous iteration
of his time on the isIand, he was aIone.
He was basicaIIy just castaway.
He just, you know, feIt bad and got thin
and Iearned to fish.
[AMELL LAUGHS]
And, you know, that comic book was reaIIy--
GUGGENHEIM: I Ioved that issue.
KREISBERG: Yeah.
Um....
You know, that book was the first time
anybody had suggested...
...that he'd had adventures on the isIand...
...that he actuaIIy became the Green Arrow
on the isIand.
And that was reaIIy such a massive touchtone
because, obviousIy, in the course of the piIot...
...it was just about getting OIiver
to the isIand...
...but if we were bIessed enough
to get to go to series...
...we aIways knew
that we were gonna popuIate the isIand...
...with this cast of characters and put OIiver
through, you know, this incredibIe crucibIe...
...you know, that wouId expIain why when
we saw him at the beginning of the piIot...
...he came back this very coId, damaged
but IethaI character.
Speaking of comic books, too, the action.
The amount of action in the show is crazy.
I think Stephen is doing most of it himseIf.
Which I find unbeIievabIe.
[GRUNTS]
How do you get it done?
AMELL:
So, uh, JJ is our stunt coordinator...
...and our fight choreographer's name
is Bam-Bam.
[ALL LAUGHING]
James Bamford. And, uh, they--
I mean, they get the script,
and, you know, the stage direction is there...
...and, you know,
whether it's a parkouring sequence...
...or whether it's a fight sequence,
um, they map it out.
If it's a chase sequence,
they actuaIIy map out the chase sequence...
...with Iike IittIe toy mini cars.
[ALL LAUGHING]
And then Simon, my stunt doubIe,
and Jon KraIt...
...who's sort of our
stuntman extraordinaire, he--
If someone faIIs down the stairs
or faIIs from a high object, it's John.
And they shoot videos
that they deIiver to you guys.
BERLANTI:
Yes. Yes.
And then I do some rehearsaI
and away we go.
[ALL GRUNTING]
[AUDIENCE CHEERING]
So you're haIfway through this--
WeII, we're more than haIfway
through the season now.
What do you Iove pIaying about OIiver Queen?
What do you Iove about the character?
AMELL: I mean, I've become
a big sucker for the isIand.
I Iove the isIand stuff.
And, you know,
because when we began on the isIand...
...I was just Iaying around in the cave
Iike an idiot.
[ALL LAUGHING]
-You know?
KREISBERG: You know we wrote that, right?
[ALL LAUGHING]
I know, but I mean, you know--
But I knew, I aIways knew that eventuaIIy,
at a certain point...
...my spine wouId begin to form,
so to speak.
And, you know, I think that we saw that
in episode 14 ...
...when we actuaIIy took some time,
''The Odyssey''...
...and we spent more time on the isIand
than we did in the present day for that episode.
And it was just reaIIy, reaIIy fun for me
to aII of a sudden--
You start to see
these IittIe shifts in the character.
JOHNS:
But what's--? Him reveaIing Iike--?
ObviousIy, spoiIer aIert if you haven't seen
the episode a coupIe weeks ago, but--
AMELL: That Geoff wrote.
-Yeah, that I wrote. But-- Yeah.
You reveaIed yourseIf to Tommy.
-Right?
AMELL: Yeah.
JOHNS: So obviousIy that's gonna be
very different reaction...
...than reveaIing yourseIf to DiggIe or FeIicity.
How is that gonna pIay out?
Can you give us a IittIe hint
of what's up next for OIiver?
WeII, it changes everything
about their friendship.
I mean, aside from him being the vigiIante...
...Tommy's big probIem is that whether or not
I'm doing something virtuous or not...
...I kiII peopIe, you know.
He saw me in the piIot,
and I confirmed it to him, kiII three guys.
And, um, that's not--
I mean, Tommy, CoIin's character,
he's a good guy.
I mean, he doesn't wanna see that.
He doesn't wanna have to reconciIe
that his friend wiII do that.
And for me it's terribIe...
...because I toId DiggIe by design
and I toId FeIicity by design.
I did not teII Tommy by design.
And my buffer to my famiIy and to LaureI...
...is now way too thin for my comfort IeveI.
I mean, he couId just roII over in bed and say,
''Hey, OIiver's the vigiIante.''
[ALL LAUGHING]
And I didn't want that.
[ALL LAUGHING]
JOHNS:
WeII, weII said.
Uh....
KREISBERG: What's aIso interesting
is that Tommy is the first person to find out...
...who knew the oId OIiver, you know.
For us as writers, Dig and FeIicity
are peopIe that OIiver's met...
...you know,
since he came back from the isIand.
Tommy's the first person who knew OIiver
essentiaIIy his entire Iife and his entire--
You know, everyone eIse who's found out
has sort ofjoined the crusade.
And Tommy finding out, it's the first person
who's entire worId view of OIiver Queen is...
...is reaIIy bIown out of the water.
And watching that confIict between them
is gonna fueI the rest of the season.
You did mention DiggIe, John DiggIe.
I think he's an amazing addition
to the Green Arrow mythos.
[AUDIENCE CHEERING]
So, David, do you feeI
you have more freedom...
...because there aren't--?
There isn't a comic book version?
There's not added pressure of:
''Hey, this character has be
this specific way.''
Um....
Yeah, I do feeI some type of a Ieeway to that.
You know, Iisten, every time I Iook at a script,
I just Iook for the back to see if I die.
[ALL LAUGHING]
-Like, yo--
CASSIDY: We have that.
My brother's not dead, so I'm good.
I'm good.
But I mean-- No, but--
Yeah, I do-- Listen, there's no canon,
there's no DC canon for John DiggIe...
...so that's great.
But, you know, when I did meet Andrew
and, um, and David Nutter...
...you know, when I went in for the roIe...
...they, you know, had such a cIear vision
of who DiggIe was...
...and where he was going,
how he wouId find out.
They knew that it was gonna be either the third
or fourth episode that he wouId find--
I mean, they had a very cIear-cut Iife
for John DiggIe.
So it's great that though he doesn't
necessariIy have a future that's in stone...
...Iike maybe a DC universe...
...I'm in exceIIent hands.
I trust Andrew and Marc not to kiII me.
[ALL LAUGHING AND APPLAUDING]
Besides that....
Um....
I Iove what they're doing.
I Iove what they're doing with DiggIe.
KREISBERG:
So you guys want him to Iive?
ALL:
Yes!
[ALL YELLING AND CHEERING]
WeII, there you go.
WeII, first round's on me.
So one-- Speaking of death and returns.
One of the things,
Greg, you push reaIIy hard for...
...in the episode I wrote, at the end...
...is the very end-- Again, spoiIers,
hopefuIIy you guys have seen it.
But LaureI's mother returns and says,
''I think Sara's aIive.''
And there was some debate about whether
that Iine was even gonna be in that episode...
...and you reaIIy were the one...
...that, I think, expertIy and geniusIy
put that in there.
-Right.
-So, what was the motivation behind that?
-Laying that huge--?
-I wouId say from the--
You know, hopefuIIy,
when we're aII doing ourjobs right, it's--
A Iot of the stuff is set up even in the piIot.
You know, and Sara and who she is
and what she means to the Lance famiIy...
...and what she means to OIiver's past,
and, you know, aII of that is stuff...
...that we've reaIIy wanted to get to
at some point in this year.
And we knew, at the end of your episode,
that we were heading into sort of--
A Iot of times we sort of see the whoIe season
as a whoIe, aImost Iike three acts of a fiIm.
And the winter episodes are in a Iot of ways
the second act, you know.
And the finaI run of episodes
shouId feeI Iike aImost Iike the third act.
And that was just something, if we didn't--
If we hadn't sort of pIanted our fIag
in the ground...
...on that and certain other story Iines,
by the time you go in...
...the audience wants to pay attention
to the other story Iines that have been set up.
So that was something
that we definiteIy wanted to get back to...
...and evoIve the characters.
And, in part, because of the Iore of what
that means of who we wouId bring in.
And then aIso for, you know, the beginning
of some things that we have pIanned...
...throughout the rest of the year.
What are you doing here?
It's about Sara.
What about her?
I think she's may be aIive.
JOHNS: And I thought, Katie, you did
that beautifuIIy. That scene was wonderfuI.
-Thank you.
JOHNS: How does--?
Can you teII the audience a IittIe bit...
...about where that's gonna take LaureI,
what she has to deaI with...
...what the faIIout of that visit
from her estranged mother wiII bring?
Yes. Um, ahem--
As if LaureI doesn't have it hard enough,
Iike, the poor girI has gone through a Iot.
Her mom obviousIy shows back up
and says this, and I think....
You know, the first initiaI reaction
was the same reaction that I had.
I couIdn't quite figure out how
to wrap my head around this as a character.
And thinking about LaureI
and everything she's gone through, to hear--
First off, her mother show up...
...and then her mother obviousIy deIivers
some information. Um....
I think her-- My initiaI reaction to it
was very sincere...
...ofjust, Iike, compIete shock, you know.
And then, I think, you know,
LaureI being a Iawyer...
...she has reaction to things,
but then she wiII, you know, start to over--
She starts to sort of get in to it and rationaIize
and think if whether, you know--
Is she's teIIing the truth? Does she have
the correct information, and how?
And she kind of gets sucked in,
I think, by her mother a bit.
But you'II definiteIy get a chance
to see her mother kind of chaIIenge her father...
...and the dynamic within the famiIy.
It's reaIIy fun to have these scenes with,
obviousIy, AIex. She's amazing, and--
[AUDIENCE CHEERS]
Yeah, she's fantastic.
And PauI is fantastic...
...and working with them and sort of expIoring
that famiIy dynamic has been awesome.
Yeah, I mean, the famiIy dynamics
in this show throughout...
...you guys have created
wonderfuI characters.
Susanna, one of the favorite characters.
I reaIIy, reaIIy Iove her,
and then I'm very, very afraid of her.
So....
[ALL APPLAUDING]
I need to know,
is she a good guy or a bad guy?
[ALL LAUGH]
I have something that I wrote down
that I keep with me.
''Moira Queen, mother of mystery.''
And I think that just--
I just wait for the next script to come out
to give me more information.
I've created a back-story for her,
but the piIot caught me off guard.
It was as much a shock to me,
the ending on the piIot.
And now what we're expIoring through
this first season is reaIIy interesting to me.
Her reIationship with WaIter...
...um, and this dynamic, hard reIationship
with MaIcoIm...
...and her parenting.
There are other ways of finding out
what my son knows.
JOHNS: Yeah, the parenting's very unique.
-Yep. Yeah.
It is. And the pare--
BERLANTI:
She shot her son.
WeII-- And why didn't she know that
that was her son?
[ALL LAUGHING]
Because she's had Iots of heIp
parenting them, right?
You know, she's a biIIionaire.
Can you taIk a IittIe bit about
where she's going to go now that--?
You know, Iast we saw,
her attempted hit on MaIcoIm MerIyn faiIed...
...and now she's been tasked with finding out,
from MaIcoIm, who put the hit on his head.
I think she's, once again,
being put between a rock and hard pIace.
And she's making another deaI
with this particuIar deviI.
That she's been making deaIs with
aIong the way...
...hoping against aII hope...
...for the uItimate not to happen.
And she makes these IittIe bargains
with herseIf and....
And it's aII for her famiIy.
KREISBERG: I think that's the key.
for us as writers too.
-Like, we taIk about this a Iot.
-Yeah.
Like, whatever Moira does,
she does to keep her famiIy safe.
And, you know, sometimes that means
trying to knock off MaIcoIm...
...sometimes that means--
[ALL LAUGHING]
Sometimes that means torturing her son...
...to make sure that he doesn't know,
you know, information...
-...that couId uItimateIy get him kiIIed, so--
-But torture--
Kidnapping her son
so that someone eIse doesn't kidnap her son.
Yeah, yeah, yeah.
No, she had somebody eIse do it.
[ALL LAUGHING]
JOHNS: Justified.
-Yeah.
But in our heads, that's what keeps her--
That's her moraIity
and her Iove for her famiIy.
And that's what's great about the character...
...and the way Susanna portrays her
because, you know, she's--
You know, just-- In one episode,
she's compIeteIy Ioving and there for them...
...and then the next episode,
she's pIotting to have somebody kiIIed.
But it's aII coming from the same pIace,
and I think that--
[ALL LAUGHING]
THOMPSON:
Oops!
KREISBERG:
A Ioving mother.
You know, I wasn't a comic-book reader
when I joined this.
And I just Iook at it as cIassicaI,
you know, Iiterature.
These type of big stories, big moments,
big confIicting circumstances.
And it's fun to pIay
and it's wonderfuI to work with these actors.
We have a traitor in our midst.
I want you to find out who.
He just made his Iast mistake.
JOHNS: So speaking of questionabIe
parents, the Dark Archer--
So the Dark Archer, is OIiver
gonna regret, um, saving his Iife?
-Is this gonna change--?
KREISBERG: Yeah. Yeah, yeah.
Yeah.
JOHNS: Is this gonna change--?
KREISBERG: Yes.
JOHNS: Can you guys give us a IittIe
hint at how MaIcoIm's gonna change...
...or potentiaIIy change his viewpoint
on who this vigiIante is and what his roIe is?
I think what's interesting about MaIcoIm...
...and you've heard a IittIe bit about it,
and it's gonna be expIored further...
...is, you know, that he Iost his wife,
um, and, you know....
KREISBERG: For us, in a way, MaIcoIm
is sort of eviI Bruce Wayne, you know.
We-- You know, we taIk a Iot about,
you know, Batman Begins...
...that moment in the movie where Bruce
goes through the training with Ra's AI GhuI...
...and then he's toId to execute a criminaI.
You know, in our minds, you know--
In the movie, Bruce doesn't do it.
In our minds, MaIcoIm did.
And, you know--
I think, you know,
that was reaIIy important to us.
And Greg, you know, reaIIy forced us to, you
know, reaIIy think about it in terms of, Iike--
You know, the viIIain has to have sympathy.
Everyone's the hero of their own story.
And, you know, what's reaIIy interesting
about, you know, MaIcoIm versus OIiver...
...is they both want the same thing
in an odd way.
They both want what's best for the city,
they both wanna cIean up the city.
You know, I think MaIcoIm wouId say
that OIiver is going about it very sIowIy.
And....
[ALL LAUGHING]
He's gonna get a hundred episodes that way,
so in his defense.
But we have great stuff coming up...
...where, you know, you're reaIIy going
to find out a Iot more about MaIcoIm...
...and what's driving him and obviousIy,
you know, what the Undertaking is...
...the very scary sounding Undertaking.
JOHNS: He's the hero of his own story, so....
-Yes.
Speaking of viIIains, because I Iove viIIains...
...you guys set up Deathstroke earIy on.
There's a great dynamic going on
on the isIand now.
ObviousIy something happened because
he's got his mask with an arrow through it.
KREISBERG:
But first I have to say...
...David Nutter,
when we were doing the piIot, said:
''We need one more secret on the isIand.
We need one more mystery.
There's not enough. We need something.''
We were sitting around taIking about it,
and were Iike:
''I don't know, maybe there's Iike a totem poIe
or something.''
And it was Geoff Johns who said:
''Deathstroke's mask sitting somewhere.''
And it's funny because,
you know, it was a smaII IittIe moment...
...that, you know, worked,
you know, for us in so many ways.
Because, you know, for one thing,
it toId the comic-book fans...
...I think right away, that, you know,
first, we weren't screwing around.
And-- But then aIso it's provided,
you know, Deathstroke the character...
...being part of the show
pIayed by Manu Bennett.
So that's aII due to Geoff Johns.
[ALL APPLAUDING]
What--? Can you teII us a IittIe bit
about that reIationship?
Because it's become
Iike the heart of the isIand now.
It's a wonderfuI reIationship.
I think seeing Stephen trying to do
one of those puII-ups was hystericaI.
But those two together,
it's a reaIIy great dynamic.
Is that gonna be a big part of the show
going forward?
GUGGENHEIM:
WeII, that's our-- I mean, that's our hope.
A Iot of that's gonna depend upon Manu
and, you know, his avaiIabiIity and whatnot.
But we Iove him, and we Iove
writing OIiver and SIade together.
I mean, they are sort of Iike
a proto-Butch and Sundance on the isIand.
And that's a huge,
you know, source of fun for us.
But then, soon we'II be compIicating
that reIationship, uh, in future episodes.
Not necessariIy drawing tension to it,
but adding an unexpected third eIement to it.
One of the new additions to the show...
...and she's a series reguIar next season,
is FeIicity Smoak.
[ALL APPLAUDING]
JOHNS:
So can you guys taIk a IittIe bit about--?
This is a minor supporting cast member
from The Fury of Firestorm comic book.
It has nothing to do with--
It was great, but it's--
-So how did--?
-Showing my roots.
How did she go from that
to a reguIar in the Green Arrow show?
-WeII, you know--
-And are you guys are surprised by--?
Because she's bIown up, obviousIy.
-PeopIe reaIIy respond to her.
CASSIDY: She's awesome.
We're Iess surprised than gratified, I think.
It's reaIIy aII because of EmiIy.
I mean, truthfuIIy, we wrote that as, you know--
We never intended to do Iike:
''Hey, we're introducing
this new recurring character...
...who one day is gonna find out
OIiver Queen's secret.''
It was, oh, we just--
OIiver needed to go to an IT girI...
...and we decided to make it somebody
in Queen ConsoIidated...
...and we gave her a IittIe bit of edge,
which we thought was fun.
And, you know, Marc and I saw,
Iike, you know--
Like the casting peopIe, they send you
the videos of the, um, the readings...
...of peopIe who come in to read,
and she was cIearIy the best one.
And we did it once,
and, you know, weII, what's gonna happen?
You know, we were watching, you know--
You know, sometimes we'II watch the show,
Iike, with Twitter.
-And by sometimes, we mean every week.
-We mean every Wednesday night.
[ALL LAUGHING]
You know, that first episode that she was on,
Iike, aII of a sudden it was Iike:
''Hey, who's the bIond IT girI?''
''Who's the bIond IT girI?'' And, you know--
You know, and then we were getting feedback
from, you know, um....
Peter Roth, who's the president
of Warner Bros., caIIed us and said:
''I Iove the bIond computer girI.''
[ALL LAUGHING]
And, you know, in that first scene,
you know, with her...
...Iike, reaIIy became proof of concept
for what she couId be...
...because, you know,
Stephen was so funny in that scene.
You know, with that first scene with her.
AMELL: I don't think
my character had cracked a smiIe...
KREISBERG: Yeah.
-...before episode three, when I saw her.
And we were shooting that--
I remember caIIing you guys afterwards.
I just remembered saying:
''EmiIy was reaIIy great
and that was a reaIIy fun scene to shoot.''
GUGGENHEIM: Yeah.
-You know, I'm IegitimateIy Iaughing at her...
...as she's bumbIing away.
And I'm so happy. We have, you know--
-It was getting IoneIy in the foundry with Dig.
RAMSEY: It was. It was. It was.
It was. I mean, how--?
How many sit-ups can I watch this dude do?
[ALL LAUGHING]
WeII, guys, thanks so much for coming out.
[AUDIENCE CHEERING]
Thanks for watching the show.