Giles's tweed vest fills the screen. A pocket watch is swinging in front of it. He says, "You have to stop thinking. Let it wash over you." The camera focuses on Buffy, who asks Giles if this isn't "a little old-fashioned." We change to a wide-angled shot and see Buffy sitting in a chair in Giles's living room, which is devoid of furniture. Giles is standing before her, swinging the aforementioned pocket watch. He tells her that "this is the way women and men have behaved since the beginning," and gently orders her to look into the light. The camera focuses on her face as she breaks into a wide grin.
The scene changes and we see an elephant topiary strung with lights. Buffy, Giles, and Olivia come into the shot. Buffy is dragging Giles's arm, urging him to hurry. She's wearing overalls and has her hair in pigtails. I'll bet that's as close as pork ever gets to SMG. They're walking down the graveyard which is done up like a carnival. A very pregnant Olivia, who is also pushing a stroller, asks Giles if Buffy is always this enthusiastic about training. Giles replies, "It would appear that she's never heard of the fable about patience. The one with the fox and the -- less patient fox." Buffy stops in front of a glass coffin and picks up a foam ball to try and hit the "vampire" behind it. She misses by a mile and Giles exasperatedly says, "Buffy, you have a sacred birthright to protect mankind. Don't stick out your elbow." Buffy looks crestfallen but tries again. She hits it this time and looks to Giles for approval, but he tells her that he doesn't have any treats. Some random person hands Buffy a tiny cone of cotton candy. Olivia tells Giles to take it easy on Buffy, but he snappishly replies that this is his job. Giles, noticing the cotton candy, tells Buffy that she's going to get her face all messy, and when she turns towards him she's wearing a mud mask. To make it more special, we get an infrared shot. Giles looks puzzled and says, "I know you." We're interrupted by Spike, who is gesturing excitedly from the entrance to a crypt decorated with garden gnomes. He urges them to hurry up and goes inside.
We see Giles enter, and at the sight of a sobbing Olivia (who appears to be chained to something), he says, "Don't push me around. You know I have a great deal to do." The scene changes to black and white as the camera focuses on Spike, who is surrounded by people with cameras. He tells Giles that he's "hired [himself] out as an attraction," and strikes a pose that Madonna would be proud of. Giles seems bewildered, and between poses Spike tells him, "You've got to make up your mind, Rupes. What are you wasting time for?" Giles mutters that in his opinion Buffy should have staked Spike. Cheese guy is back, this time with slices of American on his bald head. "I wear the cheese, it does not wear me," he prissily informs Giles, and then strides off. Giles walks into another room and he's in the Bronze. Willow and Xander are sitting on the couch poring over some books. He apologizes for being late, and Willow points out Xander's "sucking chest wound." Xander worries that he's going to die and won't be able to support Anya on her big night. Onstage a spot-lit Anya steps up to the mike and starts the tried-and-true "A man walks into a . . ." spiel. She immediately fumbles the joke and starts thumbing through her notes as someone from the audience, who is not me but should have been, tells her that she sucks. Annoyed but unfazed, she tells him to shush or he'll "miss the humorous conclusion." I doubt it. Willow tells Giles that all of this is his fault but he again reiterates how busy he is. It's not as if I didn't know this before, but all the mentions of how much Giles has to do really clinches the fact that Giles is operating in a dream world. Willow explains that there is some sort of primal force at work.