Death to salvation The investigator is given a deadline of up to six in the morning to uncover the cause of the bloody massacre at the guard post 506, located on the border of the demilitarized zone with North Korea, in order to explain the cause of the mass murder that destroyed almost his entire garrison, turning it into a mountain of exhausted corpses, which is urgently required to be removed for inspection by the commander-general, who is known that the head of this outpost was his own son.
Known from the very beginning, this fact is perceived as a provocative assumption, anticipating well-known suspicions of the connection between the influence of the father and the ugliness of the son, but we have to stop ourselves by doubting the straightforwardness of the plot, rightly considering such a target designation false, naturally not assuming how far from reality it can actually be, especially since the only one unharmed from the monstrous alteration came out of none other than a person who calls himself the same son who is rushing away from the nightmare fortress, which is in no hurry to let anyone out.
Road troubles return the funeral team with corpses and not to the measure of a zealous fugitive to the gloomy womb of a concrete labyrinth, where the search for evidence coincides with the continuation of the banquet, at which the bony death is delayed in full, for which it is impossible to keep up with the citizen boss, grasping the threads, it seems, leading to nowhere, until finally the doctor who explained to the investigator that his main enemy is not outside, but inside him.
The chronicle of this night is mixed with the moments of the previous days, confusing the investigation with the originally chosen course, not giving the investigator the desired answer, maintaining intrigue even after revealing all the secrets that without the help of the authors themselves, hardly anyone will be able to reveal, combining the mysticism and mystery of no one’s land with the reflection of human consciousness swept away by the discovery of a disembodied enemy.
In no way reducing the persistent suspense and in no way betraying its main secret, the cinema walks for a long time through a labyrinth of vague reasons and false conclusions, soaking in the mystery and blood of dozens of victims, hiding the truth in the elusive play of the shadows of the intricate dungeon, deceiving fantastic versions that send the investigator to wander along the maniacal path laid by the trembling of light in the black night, eating out the entire time released until the very morning, when help comes to the gate of the fort, and only with the help of the film, the killer who is not supported by the motifier, who is not obliged to merely by the morally repeating the sea, but by the first one who simply by the motifier, who is obliged to kill the first one who, by the first one who, by the ray light, by the first one who simply by the first one who simply by the ray of the sea, by the ray.