All language subtitles for Nightworld.2017.1080p.WEB-DL.DD5.1.H264-FGT-eng

(slow soft music)

(birds softly chirping)

- Hey, buddy, what's up?

Okay.

What do you say we turn
that frown upside down?

- It's a little early
for that, isn't it?

- Are you kidding me?

Out here it's never too
early for a cold one.

(beer can pops)

All right, let's go for a walk.

Might do you some good.

Come on.

(birds chirping)

You look like shit.

- (laughs) Thanks.

- You're welcome.

Get enough sleep?

- Rough night.

- Nightmares back again?

- Never left.

This one was a little different,

but they always end
the same with her in...

Look man, we don't have
to keep doing this.

- Yes, we do, it's why I'm here.

Man, you've got to do something
about those dreams of yours.

- Tried.

They're just getting
harder and harder to shake.

- Then move on.

(slow soft music)

- I can't do that,
Alex, you know that.

The tree over there is where
I met Anna for the first time.

Down here by the water is
where we had our first kiss.

This is her home, our home.

I tried to leave, but I can't.

It's just,

I can't.

(birds chirping)
(slow soft music)

- [Brett] You always
did love the sunsets.

- Every sunset is beautiful.

- [Brett] Remember that
day down by the lake?

It was a lot of fun, good times.

- Of course I do.

Simpler time, when
we were happy.

- What do you mean?

We're happy now, aren't we?

(slow soft music)

I had a dream about
you last night.

Been dreaming about
you a lot lately.

What do you suppose that means?

You were out in the lake
by yourself, rowing.

I was calling and
calling for you,

but you wouldn't answer.

I don't know, maybe
you couldn't hear me

all the way out there.

I mean it was a
dream, after all.

And then you turned
to me and you waved.

And like that (snaps)
you were gone.

It's hard to believe
just how quickly

the darkness creeps in
all the way out here.

- [Anna] The night will fall.

- What did you say?

Anna.

No, no!

(frantic panting)

(soft piano music)

(phone ringing)

- Hey, buddy, everything okay?

- I, um, sorry for
calling so late.

- It's okay man,
I'm still working.

What's up?

Brett, you there?

- I'm here.

You were right.

I need to get away
from this place.

- You want me to
make the call or not?

- You really think I
should go to Sofia?

- I do.

It's an amazing city
and with your background

you're a perfect
fit for the gig.

Go try it for a few weeks.

If you don't like
it, come back here

and we'll get back
to drinking beer,

figure something else out.

Thanks.

Well?
- Who's the client?

- Let's make the
call and find out.

(birds trilling)

- Make the call.

- [Alex] You ready?

- I'm ready, I'll call
you when I get there.

- Ya sure, and remember,

you don't like it,
we go to plan B.

- What's plan B?

- There is no plan B, now
get the fuck out of here.

- Take care of her
for me, all right?

- Yeah.

(engine starts)

(intense dramatic music)

(plane engine roaring)

(plane tires screeching)

(speaks foreign language)

- Ah, American?

- Yeah, Los Angeles.

- I, I speak American.

I mean, I speak English,
but you know what I mean.

Where do you learn
to speak Bulgarian?

- My wife.

I've lived in Varna for
the last three years.

A little rusty though.

Haven't, don't really
speak it much anymore.

(slow intense music)

(speaks foreign language)

(soft eerie music)

(doors creaking)

- It survived the bombing.

- Excuse me?

- The building.

You were wondering why
it looks so out of place

in a street like this.
- Okay.

- It was the only
one that survived.

- The rogue missile
back in '99 hit here?

- Oh, no, that was further out.

Closer to the Serbian
border, in fact.

This building is
much older than that.

- Sorry.

Who are ya?

- I'm sorry.

Please, forgive my manners.

I'm Martin Barker and this here

is my associate,
Goran Stoichkov.

We've been expecting
you, Mr. Anderson.

Or may I call you Brett?

- Brett's good.

So you two own this place?

- No, well, Martin runs
it and I assist him,

but the property actually
belongs to a firm in the US.

- Let's go inside.

Do the interview in my
office, I can show you around.

(soft piano music)

- [Brett] Wow.

Impressive.

- Yes.

It's really something
else, isn't it?

Come on inside.

- Tell me, Brett.

How many years have you been

at the Los Angeles
Police Department?

- 15, retired four.

- How many years have
you been living in Varna?

- Uh, three years
and some change.

- (laughs) If you don't
mind me asking, why Varna?

I mean, it's a strange
choice for an American.

- Went there on
vacation and never left.

- [Goran] Varna is where
you met your wife, correct?

- My wife?

Yeah, I met her at a lake there.

What does that have to
do with the interview?

- I must apologize, Brett, but
I'm sure you can understand

given the position on offer,

it's important for us to know
as much as we possibly can

about any potential candidate.

- Maybe I missed something
on the job description,

but what does my
dead wife have to do

with me being hired or not?

- I'm sorry, Brett.

I,

we didn't mean to offend.

It's just that the
company we work for

is a little bit particular

about who they employ as
security here at the Zahari.

Please.

Forgive me.

And I am sorry about your wife.

- Thank you.

- Do you have any
plans to return to the
U.S., Mr. Anderson?

- Call me Brett.

And no, I consider
Varna my home now.

- Coffee?
- No, thank you.

- You don't speak any
Bulgarian, do you?

- Ah, a little.

Enough to make myself
understood, you know.

- In any case,
language isn't really

an essential
requirement for the job.

But, I think that's
good to know.

- So what is an
essential requirement?

- (sighs) Well,
whilst there's nothing

particularly demanding
about your position,

Goran and I, and more
importantly the management,

expect a certain
type of discretion.

- I see.

So, what kind of business do
you guys run out of this place

other than four apartments
in a three story building?

Sorry for the questions, you
know, old habits die hard.

- It's perfectly okay.

We store our own products in
the basement of the building

and we run a property
real estate company
out of the office.

You know, it generates a
little bit extra money,

income throughout the year.

- What sort of products?

- Come.

Let me show you something.

This elevator is nearly as
old as the building itself.

- [Brett] Judging by
that key I can tell.

- It's old, but it
definitely works.

- [Brett] Maybe we
should take the stairs?

- I want to show
you the basement.

And the only way to the
basement is with this elevator.

- What if there
is a power outage?

- It automatically switches
to a hydraulic system.

There is a panic button
that is wired directly

to our office, as well
as our cell phones.

In any case, that's
never happened.

(elevator beeping)

- [Brett] Hope it
stays that way.

(lock clanks)

- Fascinating.

- Certainly is.

- What's on the top floor?

- The penthouse.

The owner of the company
stays in the building

from time to time.

- So, you have to use the key

every single time
you use the lift?

- Every time.

Won't work otherwise.

- There's two keys.

I have one on me all time.

You have the other.

(slow eerie music)

The basement is
deep underground.

Takes a minute.

(elevator rumbles)

- You're going to need the key

to get in the basement as well.

(locks clanking)

(door creaks)

- This way, please.

In here you start the most
important part of your routine.

8:00 a.m. sharp, every morning.

- Some pretty vintage
equipment you got here.

- [Martin] It all
serves a purpose.

- What are all the monitors for?

- Follow me.

(keys rattling)

(slow eerie music)

- Wow.

What do you keep back
there, King Kong?

- This is our storage hangar.

We seldom use it and you won't
ever need to venture inside.

- What do these symbols mean?

- [Martin] What we discovered
is these are actually letters

from the Enochian alphabet.

Unfortunately, we just
don't know what they mean.

- It's pretty sturdy
as you can see.

- Yeah, makes you wonder
what it was built for.

- Anyway.

The monitors in the
other room are connected

to security cameras
inside the hangar.

Come.

All the cameras are
connected to this computer

which records 24 hours a
day, seven days a week.

- How do you see anything
with the lighting in there?

- We had the building
rewired several years ago.

Just didn't have time
to do the hangar.

So until we do,
this is all we got.

- Is there sand on the floor?

- The inside of the
hangar was never finished.

So yes, what you are
looking at is grit and sand.

- So, say I take this job.

What exactly is it that I
do when I come down here?

- Okay.

You use this computer to
check recordings every day,

twice a day.

It's a simple piece of
software which is designed

to red-flag anything
out of the ordinary.

All you have to do is click

on one of the flagged recordings

and it brings it
up on the screen.

There's a log book over there.

You need to sign
it and fill it out

every time you come down.

- When was the last
time something came up?

- [Goran] Never.

(Brett laughs)

- What do you need all
the cameras for then?

- To protect our interest.

- How large is this space?

- Cameras have been
placed throughout

so we can see what
we need to see.

- That is if you can
see anything at all.

I mean, I never go in there?

- [Martin] No.

Just come down,
check the recordings

and make sure you fill
that log book out.

- But if you notice anything
out of the ordinary,

and we mean any--

- Goran's trying to
say, is even if you get

the slightest inkling
of something strange,

you have to let us know
as soon as possible.

- Like what?

- I wouldn't worry about it.

I mean, you've seen the
size of the door, right?

- That's a good point.

- However, if you do see
something strange use this.

You press speed dial one

and someone will answer and
instruct you what to do.

- Someone?

- An employee.

Consultant, if you might.

- So, that's it?

- [Goran] That's it.

- Well, Milan said something
about an apartment.

- Yes.

There's a two bedroom
apartment on the first floor.

I mean, it's small,
but it's cozy.

Has cable TV and all
the bells and whistles.

So, but that's only
if you're interested.

- I'm interested.

- Great news.

Welcome aboard.

- We'll need to sign
some papers upstairs.

Then we can show you
where you are staying.

- Alright.

(soft piano music)

- Welcome to your new home.

- You should find
everything you need in here.

- This is great.

Thanks.

- [Goran] Here's
my contact details.

We are not here every day,

so if you need anything
at all just call.

- When do I start?

- Tomorrow. (laughs)

One last thing.

Please remember to always
lock the front main entrance

every night, 11:00
p.m. to 8:00 a.m.

That's it.

- I'll drop by later
to leave the keys

to the main entrance.

- Great.

Where do I get a bite
to eat around here?

- There is a restaurant
across the street

or you can try the
caf� around the corner.

- Alright.

Thank you.

- Oh, and Brett.

- Yeah?

- Make yourself at home.

(soft piano music)

(birds trilling)

(deep ominous humming)

(clock ticking)

(intense screeching)

(gasps)

(panting)

(door creaks)

(deep rumbling)

(ominous bass rumbling)

- Hello?

Hello?

(Brett gasps)

Sorry.

Wait!

Yeah, these guys, uh,
they are a little strange.

(laughs) And I think I
almost gave the cleaning lady

a heart attack when
I bumped into her.

Yeah, just scared the
crap out of her is all.

But you're right about this
job being a walk in the park,

there's nothing to it.

Yeah, I don't
really do anything.

I'm just being paid to, I guess,

watch a bunch of empty rooms.

Yeah, yeah, I'm here.

Thanks, man.

Well, maybe you should
consider visiting me.

Maybe you'd actually be
inspired to write something

that people would want to read.

(laughs) I'm just saying, man,

I've read coloring books with
better character development.

(laughs) All right, bye.

(speaks foreign language)

American coffee, please.

- Uh, you don't want
that shit. (laughs)

Can I offer you a
real coffee instead?

- Well, I happen to love
that shit, but sure,

I'll go ahead and try one of
your so-called coffees, sure.

- Take a seat.

(soft radio music)

I saw you yesterday.

In the cab, while I
was cleaning outside.

Visiting someone?

- Actually I just took
a job around the corner.

- At the Zahari?

I thought that place was some
sort of a retirement home.

- Yeah, I'm not exactly
sure what it is.

- Not bad.

- Told you.

- Brett.

- Welcome to Sofia, Brett.

I'm Zara.

Uh, so, um, what kind
of work do you do

over there at the Zahari?

- Security.

- Security?

For what?

I never see anybody going
or coming from that place.

- When I figure it out
I'll let you know. (laughs)

Is this your place?

- No, I just, I just work here.

This pays the bills while
I study for my Masters.

- What are you majoring in?

- Art history.

So, (laughs)
pleasure to meet you.

- The pleasure is all mine.

(soft orchestral music)

(children laughing)

(footsteps scampering)

(sighs)

Christ, Brett.

(keys jingling)

(soft intense music)

(lock latches)

(crickets chirping)

(birds trilling)

(glass clattering)

- Coffee?

- [Brett] Please.

- [Zara] Did you catch
that storm the other night?

- [Brett] Yeah.

- [Zara] Kept me up all night.

- End of the world, I tell you.

- I saw a removal
van parked outside.

All moved in?

- Are you spying on me, Zara?

- No, I, (laughs) there's
nothing else to do

around these parts
except watch people.

(soft jazz music)

So, tell me, Brett,

how does an American
man wind up in Bulgaria

working as a security guard?

- It's a long story,
but the short version is

is once upon a time I
was a cop in Los Angeles.

So a security job seemed to fit.

- And you what, came to Bulgaria

just to watch other
people's stuff? (laughs)

- Not exactly.

I flew in from Varna.

That's where I live.

Well, lived.

- Live, lived?

- It's a long story,
(laughs) like I said.

I retired there.

- A little young to be
retired, aren't you?

- I'll take that as a
compliment, thank you.

- Did you know
that your building

is quite famous
around these parts?

There are a lot of history
behind those walls.

- Yes, so people
keep telling me.

- I've only ever read about it,

never actually been inside but,

this place has weathered
a lot over the years.

- Never been inside?

- [Zara] Uh, no.

- Well, maybe sometime
you can come by,

I could show you around.

I mean, it's pretty
spectacular inside.

It would also liven up what
is usually a very boring day.

Call me and we'll
set something up.

- I would if I had your number.

- Let me see your phone.

(phone softly beeps)
Well, now you do.

(gate creaks)

(intense dramatic music)

(phone alerts)

(suspenseful bass booms)

What the...

(eerie suspenseful music)

(phone ringing)

- [Jacob] Ya?

- Yeah, um, I was told to call
this number if something...

- [Jacob] What's the
problem, Mr. Anderson?

- Uh, (laughs) well,
actually I'm not sure.

I'm not even positive
I saw something,

it's just that...

- I'm on the way, Mr. Anderson.

Meet me at the front
of the building in,

shall we say, 15 minutes?

- Sure.

Who is this I'm talking to?

Hello?

Hello?

- Wait please.

Mr. Anderson?

- Uh, yeah.

Sorry, I didn't realize--

- Don't worry, Mr. Anderson,
you are not the first.

And you certainly
won't be the last.

Jacob.

- Pleasure to meet you, Jacob.

- He's been paid, Mr. Anderson.

- It's Brett.

- Ah.

Well then, Mr. Brett,
would you be so kind

as to escort me downstairs
to the basement?

- Absolutely.

This way.

Watch your step.

- I wasn't always blind
during my time here.

Ah, I remember it like
the back of my hand.

- I'm sorry, you worked here?

- For some time, yes.

What did the camera record?

And again, I remind you,
Brett, please, in detail.

- It's just a blur.

I mean, it looked
like the shadow

of something moving really fast.

I tried to play it back slowly

and I couldn't
make anything out.

- I'm going to need
you to play it back.

Frame by frame.

And take me through everything
you see on the screen.

- [Brett] It's a couple
of frames is all there is.

I mean, it's less than a second.

- Can you make
anything else out?

You said it looked
like a shadow.

Shadow of what?

- Honestly, Jacob,
I have no idea.

It could be anything.

- Are there any
marks on the ground?

- What kind of marks?

- [Jacob] Like footprints.

- No, nothing.

Am I supposed to be
looking for footprints?

- Play it again, please.

- Well, maybe if the
lighting was better in there

I could see something.

But honestly, I don't know
what the hell I'm looking at.

And I really think
we should go in there

and take a look around.
- Absolutely not.

- You know what, Jacob?

I'm playing along because you
seem like a nice enough guy.

But honestly, I'm getting
a little sick and tired

of this Cloak and
Dagger bullshit.

Who are you?

Why did you take a cab over here

in the middle of the
night to come look

at some blur which
is probably nothing,

but we're not gonna know that

because you won't let me go in
there and take a look around.

- My, my, my. (laughs)

Martin did say you are
the inquisitive type.

He certainly wasn't wrong.

But,

I believe he picked the
right man for the job.

- You didn't answer
my question, Jacob.

Who are you?

- Very well.

(sighs) I work
for Martin, Goran,

and the company as
a consultant, Brett.

Satisfied?

- Consultant?

Well, they did mention
something about that

in the interview.

You could have just said that.

- Yes, I could
have, but I didn't.

And before I worked
for Martin and Goran,

I did what you are doing now.

- How long did you
work for these people?

- Until my eyesight
was taken from me.

What good is a night
watchman who's blind?

Answer me that, Brett.

- [Brett] Should we
call Martin and Goran

so they can tell someone at
the company what's happened?

- [Jacob] There's
no need for that.

I shall inform them
in the morning.

- What are you doing?

- Listening, Mr. Anderson.

I'm listening.

(phone ringing)

- [Brett] Zara.

- Brett, hi.

Um, what's up?

- [Brett] Sorry for
calling so late.

I was just wondering if you
could help me with something.

- I can try, yeah.

- What you were
telling me today,

about this building being so
famous around these parts,

I was trying to find
something online,

but all I could find were a
couple of pretty light articles.

- Well, there isn't
really much about things

like that online.

The stories mostly
came from locals

and people who live
nearby, you know.

- Yeah, well, I guess
that explains it.

- [Zara] Why do you ask?

Are you looking
into the murders?

- Murders?

- Oh, didn't they tell
you about the twin girls

that were found dead there
when you took the job?

- No.

No, they didn't.

- Oh, geez.

A while back

this guy tried to
break into the building

in the middle of the night.

When the police were called,
(thunder rolls)

they checked the
trunk of his car

and found the bodies of
two eight year old girls,

twins, inside it.

- Christ.

- It actually gets a
lot weirder. (laughs)

Turns out he was their father.

He claimed their
mother killed them,

but when the police
went looking for her,

they couldn't find her.

- What happened to her?

- She disappeared.

Nobody knows where.

- Did he say anything else?

- He wouldn't speak to
the cops or anyone else.

Couple of days later
and he was found dead.

He hung himself.

- Listen, um, if you have some
time tomorrow, could we meet?

- I can meet you, after
I finish up at the caf�.

- Perfect.

(children laughing)
(floor creaking)

(ominous bass booms)

(eerie piano music)

(clock ticking)

(ominous bass booms)
(birds trilling)

(intense dramatic music)
(clock ticking)

(footsteps crunching)

(intense screeching)

(gasps)

(panting)

(coughs)

- Mr. Anderson,
Brett, you're awake.

- Yeah, Martin,
listen, I'm sorry.

My alarm, last night, I'm not
really sure what happened.

- It's okay, these
things happen.

You met Jacob last night.

- I did, yeah.

- Called him, correct?

- Was I not supposed to?

- No, no, no.

You did the right thing,
you did the right thing.

I'm here, I'm making a
copy of the recordings.

I've gotta get it to the
company, they want to review it.

- Well shouldn't we go in
there and check things out?

- No.

Everything I need, right here.

Look, keep doing
what you're doing.

And get that alarm
clock fixed, yes?

- Sure, yeah.
- All right, goodbye, Brett.

- Bye.

(traffic rumbling)

(soft piano music)

- Wow!

This place is so cool.

- Wait until you
see the apartment.

- Finally.

This is Zahari's place.

(moves into soft eerie music)

She's very pretty.

Who is she?

- It's my wife.

My late wife.

- Oh, sorry.

I didn't mean to say--

- It's okay.

Don't worry.

- You look good in uniform.

- That was taken a
very long time ago.

- And who's that?

- It's Frank, my old partner.

That actually was the last
day I ever wore that uniform.

- Why?

- I quit two weeks later.

- What did you do?

Shoot someone?

- A kid.

Gang member.

He was 15 years old.

He had just murdered
Frank in front of me,

and I was gonna be next
if I didn't do something.

- Jesus, I'm sorry.

Jesus.

I'm sorry.

Really, I...

- [Brett] Where are you going?

- I have to leave,
you know, I have to

because I don't want to put
my foot in my mouth again.

- Wait, no, no, no, no.

Don't leave.

Stay, stay.

I want you to stay.

(soft romantic music)

(eerie shrill humming)

(woman laughing)

(soft ominous music)

(ominous intense screeching)
(birds trilling)

(gasps)

(sighs)

- [Zara] Hey.

- [Brett] Hey.

I thought you'd gone.

- [Zara] I'm not going anywhere.

(slow soft music)

Couldn't sleep?

- Bad dream.

- I can fix that.

(slow soft music)

(birds trilling)

- What the...

(slow eerie music)

(gate creaks)

(moves into slow piano music)

- And you touched nothing?
- No.

- Are you sure?

- Martin, please.

- Look, I checked the monitor,

I saw whatever the hell
it was that was on it

and I called you.

In that exact order.

- It's fine, fine.

He followed procedures, Martin.

Exactly as requested.

Now, let us examine
the footage, shall we?

- See right there, you
know what that looks to me?

That looks just like...

- Are you certain
they are footprints?

- I'm looking
right at it, Jacob.

And what is it with you three
questioning everything I say?

- I see them, too.

We're have to go
inside the hangar.

Take a closer look.

Jake, I need you to
wait here, please.

- We are going inside?

- Now we are talking.

Let's go.

(slow eerie music)

(door creaking)

Coming or not?

(door slams)

- The door operates on a timer.

As long as we have the
key, we can get out.

- What happens if you don't?

- Please.

(footsteps crunching)

(camera clicks)

- What do you suppose
made these tracks?

- I have no idea.

- An animal obviously
got in here.

Need to look around.

Find how it got
in and seal it up.

- [Martin] No.

We shouldn't.

I've everything we need.

We're leaving.

Now!

- [Brett] If we
don't seal it up,

we're gonna end up down here

every time something
sets the system off.

The tracks end here.

Martin?

Seriously?

- I've never seen anything
like this before, Martin.

We can't just ignore it.

- I'm not ignoring it, okay,

I just don't know what
to do until he sees them.

- I know that but we have to--

- [Brett] What the
hell is going on?

- Nothing.

Everything is under control.

- [Brett] Martin.

- I've got to make some calls.

We'll talk later.

- What's going on?

What's up with you two?

What's got you so spooked
about being in there?

- Tomorrow.

Let's talk tomorrow.

I promise, first
thing in the morning.

(elevator rumbling)

(intense eerie screeching)

- Oh, Jesus Christ, Jacob.

- I'm so sorry.

Could you please
take me upstairs?

Martin and Goran
left in such a hurry,

it appears they have
abandoned me. (laughs)

And Brett,

do not go into the hangar alone.

(slow eerie music)

(clock ticking)

(children laughing)
(birds trilling)

(thunder claps)

- Hello?

Hello?

(door creaking)

(thunder claps)

Hello?

(thunder rolls)

(bell buzzing)

Hello?

- It's me.

Can I come in?

- [Brett] I'll be right down.

- Why haven't you been
answering my calls?

- [Brett] What?

- My calls.

Why haven't you
been answering them?

- What are you talking about?

- Did I do something wrong?

- Wait.

Zara, no!

What are you talking about?

Calls?

I haven't been doing anything,

I haven't been
ignoring you at all.

- Just shut up.

(thunder rolls)

(Zara passionately sighs)

(Zara moaning)

(intense dramatic music)

(Brett gasping)

- What the... hell, Brett!

Are you okay?

- I'm sorry.

I'm sorry.

- You don't seem it.

- I'm okay.

My head.

I thought you were...

- Anna?
- Yeah.

- Brett.

Talk to me.

Talk to me, tell
me what's going on.

(Brett panting)

Have you been in therapy?

- My friend Alex tried to hook
me up with a shrink, but no.

It's this place.

The visions, the dreams
are stronger here.

There's something
about this building.

Something bad.

- Brett, it's not the building.

You have to go to a doctor.

- No, these people
have been hiding

something from me
since I got here.

- Something like what, Brett?

- (sighs) It's hard to explain.

It's just there.

It's just gnawing away
at the back of my mind

and no matter how hard I
try, I can't ignore it.

These people are hiding
something from me.

I have a bad feeling
about this place.

(slow ominous music)

(Jacob sighs)

(bell buzzes)

- Hello?

- Brett?

It's Jacob Keaton.

I must speak with
you immediately.

- Jacob, how did you
get... never mind.

I'll be right down.

How did you get here?

- I drove.

I'm blind, Brett, (laughs)
I'm not in a coma.

I took a taxi.

- [Brett] It's four
in the morning, Jacob.

- [Jacob] We are
running out of time.

I think it has started.

- What's started?

Jacob, what's started?

- Oh, hi!

I better put some clothes on.

- Don't go to any
trouble on my account.

And you are?

- Zara.

- Enchant�, Miss Zara.

Jacob Keaton, at your disposal.

- Pleasure.

I'm just gonna, okay.

- What's this about?

- Oh.

I shall require you to
accompany me to the penthouse.

- There's no one there, Jacob.

In fact, we are the only
people in the entire building.

I checked all the apartments

that Martin and Goran
said people were living in

and there was no one there.

They're empty.

Why are they empty, Jacob?

What is it that got
Martin and Goran

so spooked out earlier today?

- If you come with me, I
shall explain everything.

- Where are you going?

(slow ominous music)

- [Jacob] Open it.

- [Brett] I don't have a key.

- [Jacob] Yes, you do.

This way.

(soft eerie music)

(machines beeping)

There is nothing to
be afraid of here.

(machines beeping)

He is dying.

- Jacob, who is this man?

- Zahari.

His name is Zahari.

- The architect?

If this is Zahari that
would make him like--

- 150 years old, give or take.

- You don't really
expect me to believe

that this is the guy that
built the building, do you?

Come on, Jacob!

- Young man, I am
going to need you

to help me stop what I fear
is about to occur here.

- How can I help
you stop something

when I don't even understand
what you are saying?

- Do you believe in
the afterlife, Brett?

- Do I believe in the afterlife?

What kind a question is that?

No, I don't.

- This place,

this building,

it occupies a
space directly over

one of the seven gates,
each one, each gate

a kind of, how shall I say,

doorway to the other side.

- Other side?

- The Nightworld.

Land of the dead.

- Okay, I'm outta here.

- You must listen.

The remaining six gates are
scattered throughout the world,

the location only
known to the guardian

tasked with protecting
his gate, his doorway.

Now, if,

God forbid,

the dead, they somehow
found a gateway

on the other side,

then they could move
freely between this world

and their Nightworld.

Zahari and the others,
they feared that something,

something else, something
from before the time of man

would find its way through
and into our world,

so they sought to prevent
that from ever happening.

- You don't actually
believe this crap, do you?

Do you know what you sound like?

- This man, this good
man, he was tasked with,

responsible for creating,
designing, crafting the seals

which prevent anything
from crossing over.

He agreed to remain here,
in this very building

to serve as the last guardian,

the keeper of the seventh
and final gateway.

- If he is the guardian
of the last seal,

who are the others?

- Ah, this I do not know.

But, each of the seven guardians

answers to a man named
Pritchard, Isaac Pritchard.

He is the only one
who knows the location

of all the gateways.

- This man, how can
he still be here?

I mean, how can he still be
alive after all this time?

- Zahari, (laughs)
he was an alchemist.

He was able to prolong his
life by unnatural means.

(machines beeping)

- Maria.

- [Zara] Who?

- The cleaner.

She was walking around with a
cart full of medical supplies

the day I got here.

What is she doing with him?

- That is no concern
of ours, Brett.

What you must understand
is this: Zahari is dying.

Which means that the gateway
beneath us is vulnerable.

What you saw on the
cameras the other day,

I suspect it most likely
means that someone

or something is trying
to force its way through

and into our world.

They know the
gateway is exposed.

So we must act now to stop them

or it will be breached and
we will never be able to.

- Stop who?

Who do we need to stop?

- I must get to
the basement now!

I cannot do this on my own.

- We're not going anywhere
near the basement.

- You must listen to me!

- I'm through listening
to you, Jacob.

I'm gonna go call
Martin and Goran

and then I'm taking you home.

- If you do not do as I ask,

everything you know,
everything you love will end.

(machines beeping)

(phone ringing)

- [Brett] No one's picking up.

(intense dramatic music)

- Rats always leave
the sinking ship.

- [Zara] Are you
going back to Varna?

- No.

I don't know.

Can we not do this right now?

I just think we should
get out of this place

until I figure out what to do.

(door clanks)

- Where did he go?

- Stubborn old bastard.

He has a key.

(slow intense music)

(elevator rumbling)

- What the hell is that?

- Tell me.

What do you see in there?

- Footprints.

Hundreds of them.

Alex?
(bell buzzing)

What the hell is he doing here?

Do not let him go in there!

(bell buzzing)

Alex?

What are you doing here?

- Good to see you, too, buddy.

- How did you get
through the front gate?

- That gate was opened and
I just kind of walked in.

And where the fuck
have you been?

- I've been here.

Come in.

I need to get something.

- Okay, if you've been
here this whole time,

then how come I
haven't been able

to get a hold of
you for five days?

- You're screwing
with me, right?

- Yeah, I'm screwing with you.

Come on, man, you know me.

You think I'd hop on a bus
and take a six hour road trip

to Sofia just to screw with you?

- Yeah, but you and
I talked yesterday.

- Oh, no, we didn't.

- Jacob will know
what's going on.

Just come with me.

- What's going on, man?

You're freaking me out.

Okay, you want me
to go just say so.

Brett?

Hey, what's the gun for, man?

(slow ominous music)

You want to tell me
what's been going on

these past five days?

- It hasn't been five days.

I need to talk to Jacob first.

- Who's this Jacob guy
you keep bringing up?

(electrical arcing)

Hey!

Are you sure this thing's safe?

- [Zara] What's happening?

- Zara, when you
came over earlier

you said I haven't been
answering my phone.

- [Zara] Yes, why?

- [Brett] Why did
you ask me that?

When was the last time we
saw each other or spoke?

- Uh, four, five days ago.

I thought you were blowing
me off, that's why I came.

I don't know.

- Jacob, what the
hell is going on?

How can I lose five days?

How is that possible?

I remember talking
to Alex yesterday.

And then I remember seeing
you and Martin and Goran.

And now this.

How could I lose five days?

How could anyone lose five days?

- In the Nightworld,
the concept of time,

it has no place, no meaning.

It simply ceases to--
- What's he talking about?

(distant whispering)

- [Jacob] What is it?

- What was that?

- I can't make anything out.

- [Jacob] We need to go inside.

Now!
- Inside where?

- My friend, you take this.

You'll need it in there.

- What is it?

- It works in there.

- I'm good.

What do we do when
we get in there?

How do we stop this?

- We must seal the breach.

Before it becomes completely
unstable and it's too late.

- Too late for what?
- How do we seal it?

- I possess the key.

I can guide you.

- Okay.

Look, you two stay here.

- Someone please tell me what
the fuck's going on here!

- Just, please.

Stay here with her!

(electrical arcing)

(deep rumbling)

- Now what?

- Look, you two just stay here!

Jacob, come on, let's go.

- No, man, I'm going with you.

- [Zara] I'm going, too.

- Fine.

We'll al go, but
we stick together.

Get him.

(slow ominous music)

(machines beeping)

Jacob, these symbols,
what do they mean?

- They are the seals.

Glyphs.

The protection symbols.

- Protection from what?
- The dead.

Only those from the
land of the living

can unlock this door
from both sides.

(door rumbling)

(door slams)

- [Zara] Brett!

- It's okay.

It's supposed to do that,
we're not locked in.

Jacob, what are we
looking for down here?

- We need to go further
into this hangar.

- [Brett] How much further?

- Further.

(machines beeping)

(slow ominous music)

- [Alex] This place is huge.

How are we supposed to
find anything in here?

- [Brett] Jacob, I need you

to be straight with
me about something.

There was an incident that
happened a few years back.

With the twin sisters.

You were working here
when that happened, right?

- Yes, I remember.

- So why this place?

Why here?

- The father of those children,

he believed absolutely
that this building

held the power to
bring them back.

- Bring them back from where?

- The dead, of course.

- I see.

Sir, you're fucking crazy.

But you know that, don't you?

(machines beeping)
(slow ominous music)

(alarm sounding)

- [Evil Spirit] I see you.

(Jacob gasping)

- [Zara] What's wrong?

- Yeah, what's wrong, Jacob?

- The guardian.

- Zahari?

- He is gone.

(alarm sounding)

- [Jacob] Go, go, go, go.

They're coming.

- [Alex] Who is coming?

- [Jacob] The dead, you idiot!

- [Alex] Of course,
who else could it be?

Tell me you're not
buying this bullshit.

Look around,
there's nobody here.

It's just me, you, her

and a creepy blind guy
who's missing a few marbles.

- [Brett] Shh.

- What?

- Do you hear that?

- I don't hear a thing.

- What is it?

Brett?

Brett, wait!

Brett, wait!

(footsteps crunching)

Brett.

Brett, where are you?

Brett, where are you?

I can't see him.

- Hello?

Hello?

Hello?

How did you get down here?

(woman weeping)

- Brett?

- Oh my god!

No!

No!

You're not real!

You're not real,
you can't be real!

No!

- It's me.

Your Anna.

- What?

No, It's impossible.

- [Zara] Where are you!

Brett, where are you?

I can't see him.

- Hey.

This is all your fault, man!

You put all this
shit in his head

and now my friend is
losing his damn mind.

- [Zara] He said
he heard someone.

We need to go after him.

- [Jacob] What we need
is to get out of here.

So hurry!

- Anna?

Anna?

Here, come, come with me.

Come on, come on.
(Anna gasping)

Come on.

- [Zara] Brett.

(soft ominous music)

- Fuck me.

(Alex screaming)

(intense dramatic music)

- Come, come!

(keys clinking)
- Wait.

Wait!

I, I dropped the key.

- Shit!

Shit!

I got it!

(Jacob screaming)
(intense dramatic music)

- Zara!

- [Zara] Brett!

- Zara!

Do you have the key?

- [Zara] Here.

- Where are the others?

(door creaking)

(zombies growling)

(door creaks)

- [Brett] Oh, my god!

What happened?

(Zara groaning)

- Brett.

Is that?

- Yes.

- How is this, how
is this possible?

How is this possible?

- I don't know.

She found her way back.

Just, hold on.

(Zara gasping)

Anna?

- I'm scared.

- How?

How could you be

here?

- None of that matters anymore.

I made my way back to you.

I'm here. (laughs)

I'm here now.

I'm here now.

- Brett.

- We need to get
out of this place.

- But I can't.

- Brett.

This is not Anna.

- Shh.
- What are you talking about?

- Anna's dead, Brett.

She is dead.

- No, she's not.

She's right here.

She came back for me,
Zara, can't you see that?

- [Zara] Brett, please!

- I need you to do
something for me, baby.

I need you to open
that door for me.

- [Zara] No, don't.

- To free me.

To free my soul.

- Brett, don't.

Don't!

- I can't, I can't
do that, Anna.

Those things, those
things are going--

- Shh.

Yes, you can.

You can.

That's the only way.

We can be together forever.

You have to open the
door for me, baby.

- Why?

Why did you leave me?
(soft piano music)

Why did you give up on us, Anna?

- I did it for us, baby.

- I don't understand.

- I did it 'cause

I wanted to be together forever.

I never left.

I've always been with you.

I brought you here.

Everything you've ever
done since I've been gone

has been leading
up to this moment.

Don't you feel it?

- Brett, please.

- You know it's true, don't you?

- I,

I...

- Brett.

Where is the key?

Where is the key?

Now, open the door.

Open the door.

Open the door!

- Brett!

Stay away from him, bitch!

(intense dramatic music)

- Give me the key, bitch!

- Fuck you!

(Zara groaning)

(bones cracking)

(gun cocking)

- You're never gonna hurt me.

It's me.

Your Anna.

You love me.

Not her.

(gun fires)
(Zara screaming)

(Zara groaning)
- Come on.

Come on.

Come on.

Come on, here.

(intense dramatic music)
(lights buzzing)

- [Zara] Brett.

- [Brett] What?

- It's too late.

The door--
- What?

- Is open.
- What?

(zombies growling)

(Zara screaming)

(gun firing)

Hey.

Hey!

Look at me!

You stay with me, Zara!

- I'm sorry.
- No!

It's okay. it
doesn't matter, okay.

You stay with me.

Hey, look at me!

Zara, stay with me, okay.

Look at me, right
here, all right?

All right?
- Okay.

- Okay, cool.
- I'm here.

- We're gonna be
there, all right?

We're gonna be there, all right?

- Ya.

Yes.
- It's gonna be good.

- Okay.
- Okay.

Look at me.

Right?

Keep looking at me.

(Zara groaning)

Okay, okay, good,
we're getting it.

Be careful.

Okay.

Come on, come on.

Let's go.

Come on.

Yeah.

Zara!
(Zara shrieking)

Zara, come on.

Zara!

Look at me.

Look at me!

Uh uh, no.

- Brett.

- Come on.

No.

(slow soft music)

(moves into intense
dramatic music)

(gun fires)
(Zara groans)

(soft piano music)

- Jacob?

I'm sorry, old friend.

- Who are you?

- My name is Isaac
Pritchard, Mr. Anderson.

Did anyone else make it out
of the building with you?

Is there anyone
else alive inside?

- Pritchard?

- Mr. Anderson, are
you the only one

who made it out of the building?

- They're dead.

They're all dead.

- Okay.

I need you to go with my
people now, Mr. Anderson.

Everything will be fine.

I promise you.

I'll explain everything
to you on the way.

- Where are you taking me?

- Somewhere safe.

You've done your part
now, Mr. Anderson.

We're going to take care of
everything now from here.

Please, just go with my men.

They'll see to you.

(soft tapping)

(slow eerie music)

(birds trilling)

(glass cracks)

(deep bass booms)

(slow piano music)