Riley walks through the graveyard we saw earlier, straight towards the mausoleum. Inside, we hear the Ratt-y vamp bragging that he killed the Slayer. Riley stalks inside and quickly dispatches Ratt-y vamp. He then pulls the pin on a grenade and runs outside. The mausoleum explodes.
Spike and Buffy are outside the Bronze. They fight a little, and then Spike tells her the second lesson is to ask the right questions. He claims that it isn't important how he won; what's important is why the Slayers lost. Buffy wants to know what the difference is and how he killed the second Slayer. Spike takes a few quick swings at her, which she easily dodges, and he laughs, saying he had no intention of hurting her so the chip didn't activate. He then vamps out and tries to rush her, but stops short, grabbing his head in pain. Buffy is getting impatient and punches him a few times and throws him to the ground. She claims she's ready to know how he killed the other Slayer. "A bit like this," says Spike, and tosses Buffy off him. She rolls, but instead of her standing, we see the other Slayer, a cool chick in a leather coat and Afro. She and Spike are fighting on a subway car, "New York City, 1977." I'm glad they didn't show this Slayer in the previews, because I was totally shocked and delighted with her wicked blaxploitation self. Fighting, and the action flashes between the subway car and the alley outside the Bronze, with Buffy's moves matching the New York Slayer's and Spike's matching his 1977 punk self. The fight continues, with some nice shots from outside the subway car windows. 1977 Slayer puts Spike's head out through a window, and he screams from sheer joy. Or at least that's what it said in the shooting script. My, my, my, but Spike looks yummy in his punky hair and gear. The fight continues. In the alley, Spike tells Buffy that NYC Slayer was cunning, resourceful, and hot. "I could have danced all night with that one." "You think we're dancing?" snaps Buffy. "That's all we've ever done," laughs Spike. And considering all the times Buffy could've killed Spike but didn't, I'd have to agree. Spike's present-day narration begins to run over the scenes of him fighting the Slayer in 1977. He tells Buffy that the dancing never stops -- every day she wakes up, wondering, "Is today the day I die?" On the subway car, he fights with a piece of handrail, and in the alley with the pool cue. He continues that death is always on Buffy's heels and part of her wants to get caught, in part to stop "the uncertainty" and in part because she's "just a little bit in love with it."
Buffy deals him a good strong punch, as does the NYC Slayer. In the subway car, the Slayer sits on Spike, pinning him to the ground, but the lights in the train go down, and when they come back up, he's sitting on her instead. All background noise in the scene stops, and 1977 Spike looks up at Buffy and says, "Death is your art. You make it with your hands." Very spooky effect. Buffy seems riveted as 1977 Spike and current Spike both kneel, looking up at her. He tells her she has curiosity about where death leads, and that's the secret: the Slayer wanted it. "Every Slayer has a death wish," he claims, and brutally snaps the neck of NYC Slayer. "Even you." 1977 Spike rises slowly and pulls the emergency stop cord. Before getting off the subway train, he begins to tug on NYC Slayer's leather duster, taking it for himself. He tells Buffy the only reason she's lasted this long is her ties to the world -- "your mum, brat kid sister, Scoobies." Spike's arm muscles look delicious as he pulls the jacket off the dead Slayer, and I feel all guilty and horrible inside for noticing that in the middle of such a gruesome scene. He puts on the jacket and tells Buffy that, sooner or later, she too will want to die. "And the second, the second that happens," he claps his hands in front of her face, "you know I'll be there. I'll slip in. Have myself a real good day." He steps away, declaring, "Here endeth the lesson," and then wonders if Buffy will "like it as much as [NYC Slayer] did." Buffy, standing stock-still this whole time, finally seems to come back to herself and snarls for him to get out of her sight. He doesn't leave, but instead tries to taunt her into hitting him. She won't, and he almost pleads for her to belt him. "Spike," she warns, and suddenly his face changes; his eyes lower and he moves in close to her, obviously for a kiss. Buffy gasps and steps back, her face crumpled with disgust. "What the hell are you doing!?" she demands.