Fan Art Under Seige 3

Mystery Mom

Queen of the Mist
Give the guy a break

Geez the guy has dumped his heart and soul into sharing his plot line with us and all you cynics can do is tear it apart.

So what if it has bits and pieces that seem similar to other movies. Every Civil War movie has cannons in it, so does Under Siege - does that make it like Gone With the Wind? - not!

It's a decent plot line, a decent story and whether or not it fits Seagal is immaterial. Writing is hard, damn hard. Making characters behave the way you want is equally hard. They don't alway agree with your ideas and take on a life of their own. Making a story move fluidly from one scene to another has its problems. Anyone who writes seriously knows and understands what this person has gone through and is going through.

Offering constructive criticism is much more appreciated than ripping every idea the guy has presented apart.

All you armchair critics should take your remote and channel surf. Maybe you will find something there to satisfy you.

Sydneyalias1325 - I think your story line has merits. I wish you luck and smooth writing in finishing it and maybe, just maybe somewhere you can find an interested party that will bring it to fruition.
Myst
 

Lord of Snaps

I REMEMBER YOU!!!
Oh, believe me, I know how difficult it is to write screenplays. I've gone a good distance with afew and have stopped due to creative issues and struggle to keep one's character morally significant. I started a screenplay in the summer and got halfway through it until I had to stop it because of a hard-ass time trying to make it go somewhere. I have multiple scene ideas with no idea where to place them, trying not to make the hero, a cop, turn into a viscious killer. The whole thing's about two brothers: one's a cop, the other's Yakuza. When the yakuza brother is murdered b/c he told his brother about a yakuza deal at a bistro that goes down days later, the cop takes it upon himself to bring down those innocent for it. I realized this has similarities to A Better Tomorrow and a bit of War and stopped for a bit. Writing IS hard as hell.

I even started another screenplay afterwards about a man who is walking in his small hometown with his girlfriend at night when a thug sticks them up with a knife and asks for cash. The main character ends up killing the bad guy in self defense. Since those acts of violence HARDLY happen in that small town, the judge gave the man two choices: go to jail or leave the town and never return, so the guy leaves to never return. Three years later, he returns riding to town on a chopper like a modern Pale Rider in a sense. He learns from his father that his girlfriend was murdered by newcomer thugs in town while he was gone. He then takes it upon himself to deal with the scumbags himself who plague the town of crime.

Yeah, I've heard it before: Gay idea, it sucks, try something more logical, blah blah blah. It's hard as hell just to get everything to seem realistic and reasonable. I'm not trying to insult sydney, I'm just saying that something other than another Die Hard in a building would seem fair, but who knows, maybe he has something in store that's actually got some solid ground.
 

Mystery Mom

Queen of the Mist
Then don't stop

If you have the drive and faith in yourself to know you are saying something or carrying forth a tale of some kind- DON'T stop.

What I write is not for Seagal. No way would I presume to try and plot out some of the fight scenes or action he carries out. Not that I could not do it, but the man is complex in what he will not do and I ask more from my characters (or in some cases they do more) than he would carry on to the screen.

I have just struggled with a nearly 70K word novel that is still driving me bonkers with things the characters want to say. I tried to grind that down into a 120 page screenplay. Just even leaving the basics in, I am struggling to keep it to the 120 pages. Directors can plot 90% of the camera angles, stage the action to get the results I am asking for and the actors can speak their lines interpreting them in a meaningful way with out my prompting. Still I struggle with the vision in my head and the one on the paper (or computer screen). Where do I stop mucking with it and let others take it from me?

Sometimes I ask myself, who are these strange people who live in my head and haunt my dreams. In another time and place would I have been considered crazy? They plague me sometimes beyond reason. I still have one from three books ago who wants his own story. I've tried to fulfill his wish but he is not happy with my efforts and I need to find an old veteran who will talk to me and give me some clues as to how this guy thinks.

So it goes, we all struggle and because someone else's dreams don't fit in with a story line we might have considered, does not mean it is not worthwhile.

Lord of Snaps, your second idea fits into the scenario of one of those LMN movies of the evening or SPIKE or even AMC - not to put the plot down- but, it would work in the right spot at the right time. So I say again - DON'T STOP.
Myst
 
Lord of Snaps;181227 said:
Well I thought Executive Decision had at least some good action towards the END. Sadly, Seagal "died" before he could get on the plane. Perhaps if the plane were, like I said, a massive jumbo jet, their could be some nice, close-quarters action a` la Die Hard. Have you not seen any of Tubulence?


For your information, SOAP (hehe) was supposed to be ridiculous. That was the full intention. Wonder why the snakes were obviously CGI? It was an intention. I've read the news, I've read the info, I've even read the newspaper in the bottom of your grandmother's DUMPSTER. That movie was supposed to seem stupid and ridiculous. It's supposed to be just FUN to watch, not to be taken seriously. That's why I love the movie.

Under Siege 3 in a building-structure? That sounds like a deliberate rip-off of Die Hard. Seriously. That's the EXACT same thing. Sure, same exact thing with that Dean Kane movie Christmas Rush/Breakaway, but that's beside the point. Die Hard had an epic feel because it was closed quarters, and I REALLY can't see them screwing over the pooch and thinking people will forget that Die Hard 1 ever took place in a building.

I agree that Executive Decision had good action toward the end of film. And you think it's a rip-off from Die Hard about building structure? I don't think you get the idea. People who thinks that when something that is similar from any other films which they call it as rip-offs. I wouldn't necessarily call it as a rip-off. Sometimes, I see it as an aspiration or a pay homage to a film or whatever you call it.

Tubulence- the 1996 film with Ray Liotta and Lauren Holly? If you meant that one then yes, I have. I didn't enjoy that film. The only films contained airplane that I enjoyed are... Executive Decision, Air Force One, Passenger 57, and Red Eye (I liked it because of Wes Craven but I felt there wasn't enough tension going on as it should have been).

And as with building structure idea for Under Siege 3, that was never been an intention to take place in as the whole movie because in the idea that I envisioned for:

about first 30 minutes of arc taking place at the building (the Pentagon) then the film changes the course of the arc (maybe a hot pursuit throughout the city- maybe 5 to 10 minutes) so that way the course can lead to nuclear power plant as part of second story arc (maybe additional 30 to 45 minutes because of a plot device that will reveal the history of Casey Ryback) then transforms the arc again to down at the sea where a oil platform or whatever I would come up with as a final story arc where Krill would have start the war while he remains safe on an isloated place where he can't be killed. That's when Casey would have to continue to track him down and make sure he's dead so add the 20 to 30 final minutes(due to maybe 2 to 3 huge showdowns but it won't be with Krill though and without combat knives since it'll be too much same as first two had.). But it could be little longer but who knows and it would clock in just about exact 2 hours long all together which is about 15 minutes longer than first two.

And Under Siege films is supposedly to be cousins to Die Hard films and they even name Under Siege as "Die Hard At Battleship".

With Snakes on a Plane, I knew it was supposedly to be an intention to meant be stupid and fun but unfortunately, the film bores me entirely. I do enjoy stupid and bad films myself. I enjoyed a film that lot of people put so much hate on is called Ballistic: Ecks Vs. Sever. I enjoyed the film not only because of story. I HATED the writing and it was so horrible so that takes the most blame. But I liked the directing from Wych Kaosayananda since it had good old-school feel for action sequences and it sorta of picked up at a good pace than what Snakes on a Plane did. Plus what made me like the film a lot is because I liked the film's tone with the color of black and blue which reminds me a lot from old Seagal's films and it's a good tribute to old-fashioned police thrillers from 70s and 80s.
 
Mystery Mom;181228 said:
Geez the guy has dumped his heart and soul into sharing his plot line with us and all you cynics can do is tear it apart.

So what if it has bits and pieces that seem similar to other movies. Every Civil War movie has cannons in it, so does Under Siege - does that make it like Gone With the Wind? - not!

It's a decent plot line, a decent story and whether or not it fits Seagal is immaterial. Writing is hard, damn hard. Making characters behave the way you want is equally hard. They don't alway agree with your ideas and take on a life of their own. Making a story move fluidly from one scene to another has its problems. Anyone who writes seriously knows and understands what this person has gone through and is going through.

Offering constructive criticism is much more appreciated than ripping every idea the guy has presented apart.

All you armchair critics should take your remote and channel surf. Maybe you will find something there to satisfy you.

Sydneyalias1325 - I think your story line has merits. I wish you luck and smooth writing in finishing it and maybe, just maybe somewhere you can find an interested party that will bring it to fruition.
Myst

I totally agree with what you said. Writing is always hard and you know what? I haven't gotten a story done since April 2004 and I've been working on a new story since February 2005. At least in this one, it's something different and more original from what I thought up of so far. The story I'm writing is a romance thriller and it's something different from any romance films out there today.

It's called Dark Rainbow and the title sounds catchy, didn't it? haha.

The whole simple premise of this story is about a happily-ever married woman who goes on a wild ride of her life...in a bad way and one night takes a wrong turn when she and her best friend got raped. Both of them are left for dead but one of them is lucky to be alive and eventually, is forced to do some certain things since her children who are in their twenties are kidnapped and she couldn't see them again until she achieves on what she is forced to do. After she did all of that, she finds out that her children has not been released yet so she decides to escape from the Marines so that makes her become a deserter which the cops, the government and FBI would have to chase after her while she tries to find her long lost friend for some assistance.

Think about that with many issues that will revolve around that plot including love, friendships, dating and relationships. To warn you, I had a great opening in the story that brings up one HUGE question that will stay in your head for the whole time until the answer is revealed at the very end of story. It will grab you right from the start until it's over.

Of course there may be some ideas that you would feel familar to other films but consider that as a homage or a tribute to some films or it could be completely on its own, it's up to your judgments.
 

Mystery Mom

Queen of the Mist
Ideas come in strange ways

Some of the story lines I have used have been with me for eons. Since I was a prepubescent kid in fact. They crept around in the background surfacing every now and then as reminders that these people were waiting to be brought to life. Sometimes they have pushed hard to emerge and other times they have evolved or gone through a metamorphosis into something I never thought about. What comes from my fingertips is not always what my conscious mind is thinking. Frequently, the results surprise me.

I have found that I can write comedic instances that will make the reader laugh - did that myself when I came across something I wrote years ago and sat down to read it and refresh my memory. I had forgotten most of the story and I know I am easy to amuse, but I found myself laughing out loud. I gave the chapter to some one else to read and they laughed as well. Small thing, maybe stupid sounding, but it is validation of ones abilities.

I tried the formula writing of the romance novels. Some of those border on porn, at least they can be classified as soft porn. I can write about sex and you are going to be a participant if you read what I wrote.

I struggled with writing about cruelty. Vicious acts by vicious people. Scared
myself with that. That is a dark place to go. Stephen King is scary at times but I can put words on paper that will make you cringe. That writing goes slowly, very slowly. Not because I savor the moment, but because I must put each word in just the right spot, catch the horror in detail and let the reader picture what I am seeing, even if I don't want want to see it myself.

Some days I must catch the rage of a character and hold it close to describe the nuances for the reader. Those days I am best left alone. I have to force myself back and ask who, why and what. Then take the mood and get it down before it dissolves.

Let's face it there would be no story if there were no conflict. The amount of conflict is left to the writer. The writer becomes an observer. People become tools to the writer. More succinctly, peoples behavior becomes the tool. Control is left to the writer, the more a story line appears to run out of control the more conflict the story bears. Thus the trials and tribulations go from page one, chapter one to the final 'finis'.

Some days that line or two becomes a real struggle, other days you find pages have passed in an easy flow. Then there are the times you are ready to say 'done' and you find that extra push to do that one more thing. Twenty pages later you hope you have said enough and write END in frustration.

You read, you reread, you correct, you adjust, you tweak and you put it away. It never fails, if you open it again you just have to take one more look, fix one more thing. On it goes until you can finally shove it aside and move on to the next group who seem to be calling your name seeking recognition in the world of paper.

Now I've told you all this and none of you have a clue as to a story line, plot or idea of what came from my head or hand. Are you curious?

Myst
 
Lord of Snaps;181229 said:
one night when a thug sticks them up with a knife and asks for cash. The main character ends up killing the bad guy in self defense. Since those acts of violence HARDLY happen in that small town, the judge gave the man two choices: go to jail or leave the town and never return, so the guy leaves to never return. Three years later, he returns riding to town on a chopper like a modern Pale Rider in a sense. He learns from his father that his girlfriend was murdered by newcomer thugs in town while he was gone. He then takes it upon himself to deal with the scumbags himself who plague the town of crime.

Yeah, I've heard it before: Gay idea, it sucks, try something more logical, blah blah blah. It's hard as hell just to get everything to seem realistic and reasonable. I'm not trying to insult sydney, I'm just saying that something other than another Die Hard in a building would seem fair, but who knows, maybe he has something in store that's actually got some solid ground.

Now, don't you see? lot of movies have different premises but similar ideas. That's why I never called it as a rip-off. I only call it as an inspiration or a homage. Sure, your idea sounds like 2007's Jodie Foster vehicle called The Brave One combine with Death Wish, and Pale Rider.

Originally, when I was plotting out some ideas for Under Siege 3 as in my verison, I never came up with Pentagon break-in in the opening but I decided to add that in because once I realized that there was no point of conflict that can keep the story interesting and I never wanted it to be a straight forwarded action movie.
I came up with an idea of having some important people killed off such as Admiral Bates, Captain Gapza (sp?), and Tom Breaker but the question was how could I manage to get it happen? So I thought up of 2 big ideas that could work which was bringing Commander Krill back since he is supposedly to be dead in first film but have we seen him die as an evidence? Not really so anything is possible. And the another idea was since Krill's back and Casey finds out that the people that he knows are murdered and he finds out that Krill is alive and he is the one who murders those people so this way is what gets him so ticked off. At least, there are more sense toward the story that can heat the suspense up into a wild action later on in the movie.

If hijacking the airplane is only the plot for US3, ask yourself this, where can the action go and how would people feel if they think that there is not enough action. It'd be too straight-forwarded action movie and everything'll be same as first two. This is the REASON why I've always been against this idea for long time, do people want to see a same plot over and over for a sequel? Nope.
 

Lord of Snaps

I REMEMBER YOU!!!
Very true.

Now, don't you see? lot of movies have different premises but similar ideas. That's why I never called it as a rip-off. I only call it as an inspiration or a homage. Sure, your idea sounds like 2007's Jodie Foster vehicle called The Brave One combine with Death Wish, and Pale Rider.

I have officially lost what respect I ever for Jodie Foster. The Death Wish series is one of my absolute favorite film series and it pisses me off to hear that she said "Death Wish was just another genre movie." Death Wish STARTED the genre, ya d@mn ape. Brave One just really sets my match off.
 
Lord of Snaps;181302 said:
Very true.



I have officially lost what respect I ever for Jodie Foster. The Death Wish series is one of my absolute favorite film series and it pisses me off to hear that she said "Death Wish was just another genre movie." Death Wish STARTED the genre, ya d@mn ape. Brave One just really sets my match off.

I know Death Wish was the film that started a genre involving revenge but it doesn't have drama elements like in The Brave One. I did enjoy The Brave One, due to not having seen a revenge type of film in a while and it had old-school style in it which is why I enjoyed it. I also saw James Wan's Death Sentence which had same themes as The Brave One and Death Wish. I thought it was an okay film and a different film than I expected from James Wan because of his work on Saw and Dead Silence.

I am always against the idea of remakes but I always had a thought that maybe it could work for Steven Seagal if he did a film like Death Wish or Death Wish remake.
Back to The Brave One, the only difference from that film compared to Death Wish was the camera work which kept me on edge of my seat especially with dramatic elements that Death Wish doesn't have. At least, there's a difference for modern films and the main reason I enjoyed is that there isn't a decent old-school type of films out there in a long time because nobody is interested in those kind of films. I have nothing to say against or bash on those films because I enjoyed all of those films except Death Sentence because I didn't like the way final showdown turned out especially with the ending.
 

Lord of Snaps

I REMEMBER YOU!!!
I have yet to see Death Sentence, let alone read the books Death Wish and Death Sentence by James Garfield, which the movies are based on (of course).

Steven Seagal and Jean-Claude Van Damme pretty much had their own Death Wish's: Urban Justice and Wake of Death.
 
Well, Wake of Death was good for Van Damme especially for his performance but with Urban Justice...I didn't really enjoy that film at all. Only thing that is pro for this film was the fight scenes and that's it. I understand that the film was a low budget but still, they could have done it better. I know the budget has gone up in this century compared to 90s when Under Siege was shot for 12 million, see...that's a big difference compared to a 12 million budget for Urban Justice in today's standards. That's something that I don't get about Hollywood with money issues. To me, they're doing most lazy job on films today.
 
If someone imagine an opening for The Pentagon break-in, if you imagine it like how it happened in Die Hard when the terrorist took over.

since when someone thinks it's a rip-off, look again. In my vision, it will be much faster paced and the action will definitely be fast because when the film opens, the action starts right away.

In Die Hard, it opens inside the airplane as John McClane gets off and rides in the limo as the story unfolds to the terrorists as they slowly to break in the building and starts taking hostages.

In Under Siege 3, the first picture will open with the camera moving upward across a fence as a truck starts pulling into the lot of The Pentagon. Next shot is the camera stands when a guard pulls a paper from the driver by the window but only the driver's hand is seen. Then exterior shot of the fence as it slowly opens and boom, they start killing guards and the truck leaves in semi-rapid speed to pull in the parking ramp under the building. When the truck gets in the building in the basement, lot of wild camera shots and movements in a good steady and stability movements (like how the director- Jack Bender did in Alias episode 1.12 and 1.13 The Box part 1 and 2 as when Quentin Tarantino breaks in SD-6 where everything happens so fast but in a good pacing. Trust me, it's not like Michael Bay's style, it's completely different and Jack Bender is even a way better director than Michael Bay, just warning you in case if some of you go on criticisms on me about this.) Then after they get in the building and by the time when they reach to a huge room with a round table of government people (like shown in first Under Siege) but the camera constantly focus on a man that his face won't be seen until the camera starts moving around the group of government people when they're sitting at their table with a shock on their faces. Then lastly the camera turns onto a man and rotates once to show the man revealing Commander Krill and he says with a devilishly smile "Welcome aboard." Then everything fades into black and main titles begins. This is the part where people would have their WTF moment but maybe at the same time they'll smile or laugh in a good way because they'll end up wondering what direction will US3 go this time around. Then after it's over, we'll see a shot in a kitchen where Casey is working as a cook or a chef in a restaurant and helping other cooks.

Now, don't you see how big the difference in this one compared to first two. In first two, we don't see terrorists start taking over until after about first twenty minutes into the film. In this one, it started right there when the film opens. There's more pure adrenaline rush going on than first two did.
 

Kotegashi

Master Of Disaster
Staff member
sydneyalias1325;181393 said:
Then lastly the camera turns onto a man and rotates once to show the man revealing Commander Krill and he says with a devilishly smile "Welcome aboard." Then everything fades into black and main titles begins. This is the part where people would have their WTF moment but maybe at the same time they'll smile or laugh in a good way because they'll end up wondering what direction will US3 go this time around.

Just reading this gave me the WTF moment. It sounds great and doesn't feel like your copying out of DH1, 2, 3, 4 or such. But I have some remarks if you don't mind.

Blasting of straight from the start is okay, but I fear that by jumping straight in the action after like 20 to 30 seconds won't give the audience a change to "settle in" for the movie.

In E.W. the action came also pretty fast, but after 3 or 4 minutes. It was enough to get focused in movie and get a clear picture where it is taking place. Then when the action started the audience was drawn into the action and didn't miss a thing.

If I may suggest an idea:
Perhaps it would be better for the opening shot to start in the air looking down at the pentagon (perhaps even showing the location name on screen) and have it slowly fly down at the pentagon, fly over the roof, down the side towards the fence (in the distance you can see the truck pull up at the guardhouse). During this sequence the main actors and company credit can be shown. Then when the camera arrives at the gate you could pick up where you started the scene.


It eases the audience into the movie and the action still starts very early in the movie.

Peace
 
Kotegashi;181395 said:
Just reading this gave me the WTF moment. It sounds great and doesn't feel like your copying out of DH1, 2, 3, 4 or such. But I have some remarks if you don't mind.

Blasting of straight from the start is okay, but I fear that by jumping straight in the action after like 20 to 30 seconds won't give the audience a change to "settle in" for the movie.

In E.W. the action came also pretty fast, but after 3 or 4 minutes. It was enough to get focused in movie and get a clear picture where it is taking place. Then when the action started the audience was drawn into the action and didn't miss a thing.

If I may suggest an idea:
Perhaps it would be better for the opening shot to start in the air looking down at the pentagon (perhaps even showing the location name on screen) and have it slowly fly down at the pentagon, fly over the roof, down the side towards the fence (in the distance you can see the truck pull up at the guardhouse). During this sequence the main actors and company credit can be shown. Then when the camera arrives at the gate you could pick up where you started the scene.


It eases the audience into the movie and the action still starts very early in the movie.

Peace



That was the 2nd route that I was planning for but I kept debating myself about the main titles because I always like to grab a real good attention right from the start before the main titles can start so in that way the audience can get the idea of what to expect from the movie. I know there are movies that don't always go that kind of route but this concept is what I came up with from seeing James Bond movies and there are similiar at some point or Seagal's Into the Sun but don't worry because when a film opens or when I start a film, I always like to do a wideshot of a location.

And I'm really glad that it gave you a WTF moment and that it isn't like Die Hard films. That is what I've been trying to tell other people but I hate it when people jumps into conclusion without a good thinking.

And yes, I know Exit Wounds started action really fast, not many of Seagal films have that which is why I thought it'd be good to do that for US3 especially to make it different than first two. I mean of course Seagal is overlong due for a comeback and when that happens and you know what people will be expecting from him when he makes a comeback so in that direction, I'd like to give more than what they expect.

Another film that started action real fast was Marked for Death and Out for Justice (I believe OFJ had the best opening for action than what Exit Wounds did. Because the pacing was so furious and fast with good music.)
 

Lord of Snaps

I REMEMBER YOU!!!
Say, sydney, what would u make the novelty death of the bad guy? I'd like to see Seagal pulls another novelty one like he did back in the Under Siege's and Out for Justice, Marked for Death, etc.

I have a cool novelty death written for the villain in one of my action screenplays if you'd like to know what it is. Cheers.

~Lord of Snaps
 
Hmm...if you're asking me about what I would like for Under Siege 3...I haven't gotten that planned out because I didn't get all details straighten out yet however I do have a good idea of where I'm going for as for the whole thing.

And with novelty death...I'm trying to remember if I had anything good from my previous stories that I wrote. I'll get back to you on that one while I'm trying to think of what I wrote from before because it has been long time and my mind has been onto my latest story for long time.
 

fakeshemp

Hard To Kill
Wow...what's so big interest on an airplane idea? Have you or anyone gotten the slightest idea in term of "edge of your seat" excitement? Snakes on a Plane is the most boring film that I ever seen!

I agree that the airplane idea wouldn't be the way to go for another Under Siege film, but then again I don't think a major Hollywood studio would back another sequel starring Seagal anyway. As for airplane plots, I think it would be stale now. We've seen it so many times before. Sure, it's been done well with films like Die Hard 2, Executive Decision and Passenger 57 but do we need to see it again? And yeah, Snakes On A Plane was crap...a perfect case of hype and a catchy title being so much better than the movie.

Putting the unlikely scenario of a sequel aside, if a Seagal Under Siege film did get a green light, I'd like to see his age referenced and maybe jokes being made at his expense, which he shrugs off as he knows he's the only person who'll get the job done. It'd also be cool to see what Ryback is doing now. I think it's also important to stick to the formula of previous movies and give him a sidekick who stumbles into harms way only for Ryback to reluctantly take them under his wing.

I do like the idea of staging a story in the Pentagon or even the White House itself. Terrorism is something will always inspire plots for action movies and post-9/11 that kind of story is more effective than ever.
 
Here's my plot summary of Under Siege 3

A group of Navy S.E.A.L. secretly breaks in the Pentagon. The group of goverment people are stunned when they see Commander Krill approaches to the large round of table where they are sitting at. Commander Krill says, "Welcome aboard." and he grins.

At a kitchen somewhere in Washington D.C., there are bunch of chefs cooking food for a restaurant that Casey Ryback owns. Casey walks in the kitchen from the dining room and he tells the cooks what the customers ordered. At the same time, he is distracted by the news on TV and he recognized that the people in the government who he used to work with are held as hostages at the Pentagon. He told his commander in charge to take over the kitchen while he goes off to do a mission at the Pentagon and he leaves off abruptly.

While he is driving to his cabin somewhere in the woods, he calls in people to meet him at his cabin to create a task to set up a team to do a rescue mission at the Pentagon to help the hostage situation.

Back at the Pentagon, Krill demands to speak to Casey and he told him that he wants him to surrender whatever he is doing to stop the hostage situation then he forced Admiral Bates to speak to Casey.

Emotional and tension builds up when Bates opens up the conversation and he tells Casey that if Casey don't go to the Pentagon then Krill will start killing every 5 people out of whatever number in total of government people within half hour starting at noon then every 15 minutes after that.
Few hours later, Casey gets his team together and leaves off to the Pentagon to catch down Commander Krill. At a small strip of water next to Pentagon, Casey and his team quietly sneaks into the building by using a ballon rescue boat.

They start fighting and shooting at Krill's people each time when they see them during until they reach to the point where they are close on getting Krill but Casey tells them to hide while he goes in alone to confront Krill but he gets played when he sees Admiral Bates, Captain Garpza (?) and Tom Breaker are left for dead and all of them are tied up with wires while their bodies are still hanging above the floor then with a surprise, an explosion occurs and Casey falls back. He is safe but has minor injuries and he calls in his team to meet him while he searches through everything to find out what Krill's agenda is.

Then he finds out that Krill is going to nuclear power plant to finish the agenda. The agenda is to start a World War. Krill's purpose on the Pentagon is to steal the code and to locate the warheads so he can create another World War. There are several flashbacks while Casey is searching through everything to find out what Krill will do next. The flashbacks will contain the past of what actually happened when Casey failed a mission while he was on Navy S.E.A.L. team that he was the only person made it out alive. He was like a warrior. And also this will also reveal the past life that several people in his family were lost/killed is what makes him to be the person who he is now.

Also, this is the part where Krill's death from the original Under Siege will be revealed to show how he made it out alive because it doesn't really show that he died as evidence, who knows maybe he could have escaped somehow before a missile crashed onto his submarine.

Then he leaves off to a nuclear power plant and at the same time, he gets a call from Krill and Krill tells him that he kidnaps his children. Krill threats to kill the children if Casey don't surrender the mission. Again, Casey and his team breaks in the nuclear power to continue his ramage on Krill.

Lastly, Krill managed to achieve his agenda at the nuclear power plant and he excuted his team so he can escape to a oil platform down at a sea which Casey wouldn't able to catch him but Casey managed to catch him at the oil platform by using a boat to chase him.

On the oil platform, Casey confronts Krill's 2 main people and he does a lengthy battle combat against them then they both get their fatal death then Casey manages to catch down Krill while he is trying to battle down a pilot of a helicopter who is planning to escape with Krill. There are lot of explosions going on at the platform while Casey is trying to kill Krill for good and he also successfully rescued his children.

At the end, Casey and his children attends at a funeral where Casey brother was buried to bury Tom Breaker, Admiral Bates and the Captain. Then everything turns into black when Casey walks away.
 
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