The caption on the screen tells us that it's now "five years later". Marty drops his kids off at home, informing them that's he's going for a drive. During this ride is where we're privy to some of Marty Stillwater's genius writing techniques. Well, just one technique, actually, which is to dictate important plot points into a tape recorder. "Maybe Brett should get to San Francisco before the murder!" Marty says, before suddenly getting a blank look on his face (Or, I should say, blanker).

We cut to his POV and find he's having psychedelic visions of army jeeps and big llamas being led along streets. He suddenly turns around in his seat, hoping to find, I'm guessing, some llamas sitting in the middle of the road. Seeing nothing, he continues into his tape recorder. "If Brett gets there before Grace, how does Walter find out the combination to the locker at the airport?" One gets the feeling this movie might have been benefited had the screenwriter indulged in these kinds of techniques.

Then another vision appears. This one's even more elaborate, as he sees llamas everywhere, then an army jeep coming right at him. This leads to Marty swerving in and out of traffic, inevitably handling his car like a stunt driver (skidding sideways on his tires, sliding backwards, etc.) and finally coming to a halt in a grassy patch. He picks up his cell phone and "humorously" calls for a taxi. Wouldn't, I don't know, calling for a tow truck be a much better idea? Or is he just going to leave his car on the side of the road?

In the next scene, Marty's back at home explaining to Paige that he "blacked out". I'm not sure how he construed a "hallucination" to actually be a "black out", but whatever. Paige insists that he's just under stress because of a big load of exposition that includes a deadline on a new book and an "article in Celebs" that's coming out tomorrow. Marty says he's made plans to see his doctor, but meanwhile points out a home medical reference he says he came across when he was researching his book Slow Bleed. "Listen to this," he says. "Blackout plus amnesia equals Alzheimer's. If I was 40 years older!" Again, what blackout? And what amnesia?

Anyway, what this all means is that Marty is convinced he has a brain tumor. Paige reassures him during this immortal exchange:

Then Paige holds up the hand with her wedding ring on it. Marty taps his ring against hers [??]. Then they both cry out, "Wonder Twin power --- activate!"

We cut to a street at night, and a caption informs us this Lima, Peru. The film makes it obvious that this is what Marty was seeing in his hallucinations earlier. Men are seen throwing flowers (or something) up to scantily-clad females leaning over the railing of a cruise ship. Across the street, an army truck pulls up and an important guy climbs out the back. We know he's important because he wears a military uniform and a big red sash, making me wonder if he hangs out with Mayor Quimby at all. Red Sash Guy is helped aboard the cruise ship, just as a mysterious masked figure dressed all in black pops out from underneath the truck.

If I were Andrew Borntreger of Badmovies.org, I'd now be screaming RANDOM GRATUITOUS BREAST SHOT! Because next we see Red Sash Guy walking down a ramp, arm in arm with a topless woman, while even more topless woman stand on both sides of the ramp. Remember, this film was originally a TV mini-series. So, apparently gratuitous nudity was later edited into the movie with an eye on the video rental market (where an "R" is the much preferred rating for a supposed "horror" flick). Strangely, however, no violent scenes were added at all. In fact, there is almost no violence whatsoever in this film, despite their being a dozen or so obvious places to insert some bloodshed.

The mysterious figure in black is seen sliding down a rope onto the deck of the cruise ship. So, he went from hiding under a truck to being in a position to slide down onto the boat? How does that work? Nevertheless, he slips inside while some tuxedo-clad thugs stand around, unaware.

Red Sash Guy is now in his boudoir, wearing a smoking jacket and puffing on a cigar. Then a hand enters the frame, holding a gun. A shot rings out, and Red Sash Guy's head jerks back. It appears he now has a big red birthmark on his forehead. Oh, wait, that's supposed to be a bullet hole. Or maybe not, because in the next shot it looks slightly smeared.

The mysterious black-clad figure takes the cigar out of Red Sash Guy's hand (because smoking in bed is a no-no, kids) and replaces it with the gun and what appears to be a suicide note. ("Please forgive me, there was no other way out of this movie.") Then he quickly takes his leave.

The bare-breasted woman we saw earlier runs in screaming. (Oddly, she appears to be running and screaming long before she even discovers the body.) We see Black-Clad Guy run across the deck then jump over the railing into the water. Then we cut to more RANDOM GRATUITOUS BREAST SHOTS! as men with military-style rifles scramble through the corridors of the ship looking for the assassin.

We cut to a motorboat stationed just a few feet from the cruise ship. Black-Clad Guy jumps into the boat, deciding it's a good time to pull off his mask. This lets us all see that he is in fact... Marty! Or... is he?

Well, no. Actually, it's Alfie, all grown up. And he looks identical to Marty, since he's also being played by Stephen Baldwin. I'll pause to let the shock of this development sink in.

A plane lands and the caption tells us we're now in Fort Worth, Texas. Alfie, going under the name "Mr. Stiles", is checking into a hotel. The concierge offers him a map of the city, but he refuses. Proving to be not the sharpest trained assassin around, Alfie proclaims, "It's a funny thing, though. Wherever my company sends me, I just automatically seem to know how to get to where I need to go... Like a map has been planted in my head!" Instead of calling the police to find out if there are any escaped mental patients in the area, the concierge merely says, "Well, it's sounds to me like your company has a very together travel department!" [?]

He goes to the hotel bar and asks for "Soda". The bartender appears to know what he means, but I sure don't. On TV, a reporter announces that the "de facto head of Peru's military" has committed suicide. (Is that his official title?) Some US government bigwig then appears, saying this can "open up the possibility for a wide and lasting peace in South America!" Because, as we all know, South America is nothing but a vast war-torn wasteland.

Just then, a Hotel Bimbo sidles up to Alfie and asks him if he's "here for the book fair", which is an unusual pickup line, to say the least. Initially, Alfie brushes her off, but on the way up to his room, he stops and sees a wedding reception down in an atrium. He stares at the bride and groom with longing in his eyes. We know he feels longing because Stephen Baldwin scrunches up his eyebrows and pouts.

In case you thought things couldn't get any stupider, it turns out that through genetic bonds, psychic links, sympathy pains, or whatever, Alfie now has the deep-seated desire to be married just like Marty. Eventually he turns around and goes back to the woman at the bar, then we're suddenly up in Alfie's hotel room watching the two of them going at it. For some more gratuitous nudity, the woman is topless (even though Alfie still has his shirt on). "Whoa, rock and roll!" Hotel Bimbo exclaims afterwards.

They cuddle up together, but Alfie's attention is drawn to an advertising placard on the nightstand reading "Special Rates for Business Travelers with Spouse". To illustrate the concept of a "spouse", this placard features an oddly explicit photo of a man and a woman lying in bed in post-coital rapture. Alfie gamely (or should I say lamely) attempts to get Hotel Bimbo to copy the pose with him.

She complies, but it turns out Alfie's just getting started. "Ask me how my day went," he says. When she does so, he launches into a long tirade about his "job". (Ever notice that we rarely, if ever, see a guy in a movie actually falling asleep after sex?) He's "not sure of the point" of his job, because all it is is "hotel rooms and rented cars, and one city after another." The woman gets bored and looks at her watch (much as I've been doing for the last half hour).

Alfie sees this, and in a rage pulls out his gun from beneath his pillow and points it at her [!!]. Geez, I know some guys have fragile egos, but this is ridiculous. Anyway, the woman blandly begs for her life, pointing out with some dispassion that he can't kill her because she has a daughter. Alfie replies that her daughter is lucky that it's "against the rules". "Don't leave a mess, Alfie," he says. "Don't make a mess." So, I guess having a one-night stand with a woman you just met and then pointing a gun at her doesn't qualify as "leaving a mess". Eventually, he tells her to get out, then calmly turns on the TV. Strangely, there appear to be images on every single channel of warm, loving families embracing each other as they run across the beach. This makes Alfie sadder.

The phone rings and it's Drew Oslett, who starts to give Alfie his orders. Alfie isn't listening, and demands to know when he gets to go home, with a "mom and dad and groceries and a bicycle in the driveway!" In response to this, Drew says (what else?) "Be at peace, Alfie." Alfie's probably been hearing this phrase over and over for the last five years (Having heard it over and over for the last ten minutes, I can't even imagine what he must be going through) and he decides he's finally had enough, refusing to "be at peace". In response, Drew repeats it a little more forcefully. After a couple seconds of this, Alfie relents and is at peace. Whew. Crisis averted.

He shuts off the Families Running Along the Beach Network so that they can discuss his "responsibilities". Drew orders him to take out a guy named Kingman Flagg, who's resisting a hostile takeover of his company, Flagg Petroleum, by Oslett Technologies.