The man and woman go to the junkyard where an old Camaro is—in one week, the man will be off working on a rig, so they want to make a memory that’ll last. When they get to the Camaro, the woman gets on the trunk of it and does the same pose that an actress does in a horror magazine—the junkyard here is the same junkyard from that photo shoot. Afterward, they develop the camera film, the man gives the woman an engagement ring, and he goes off to work. After he leaves, she goes to sell the engagement ring and spends it on a bunch of things, including a sledgehammer. With it, she sneaks back into the junkyard, intending to bludgeon the Camaro, but it’s nowhere to be found.

Two years pass. The woman is living in a trailer with her friends, as her adopted parents decided to sell their house and live in a camper. Her real parents have long since been dead after a car accident. At a bonfire party, she talks to her friend but eventually sees the man who has returned from work. She walks away, cracks open a beer bottle, and throws it at a speaker post, causing it to shatter. Frustrated that no one notices her outburst, she looks around and eventually sees the same Camaro from before. She walks up to it, lays her hand on it, and gets a rusted cut on her palm. She wonders aloud where it’s been and why it’s here. The bloody handprint on its hood disappears.

The next day, after dropping off her friend at work, the woman goes back to the drive-in to see the Camaro. She wonders where it came from. Peering inside, she tries to fiddle around with it only to get another cut on her finger. The Camaro then saps blood through her wound. Meanwhile, her own car has since sputtered out. From it, she withdraws a box—the ring box the man gave her—and pulls out a picture of her real parents. She heads back to the Camaro and sees that it’s the exact same car. She then calls her adopted parents, in their camper, who confirm that her parents didn’t actually die in a wreck (as she once thought) but rather from carbon monoxide poisoning.

Later, the woman picks up her friend. When they get back to their trailer, they see the man’s truck next to it, assuming that their third friend and the man are getting together. Upset, the friend scratches his truck with a piece of metal. Later, the woman goes back to the drive-in to see the Camaro. As she gathers the fallen letters of a marquee sign, the Camaro suddenly turns on.

Days later, the woman is passing out often, even at work. Her coworkers try to take care of her and accommodate her, but she doesn’t tell the truth about why she’s been so ill, which is that the Camaro needs her blood. Outside, on lunch break, her nose starts bleeding, after which she grabs a plastic cup littered on the ground to fill it up. Her third friend then appears, after which the woman sees, by way of her black eye, that she’s been abused by the man. The woman tells her not to worry.

All along, the man has been avoiding the woman ever since he got back to town. Now she has a plan. Thanks to her blood, the Camaro is nourished and almost as good as new. Sometimes she can still see the ghosts of her parents waiting for a movie at the drive-in to start. After seeing what the man did to one of her friends, the woman plans to lure him to the Camaro so that his parents can exact revenge on him.

The woman sets the plan in motion. She buys an old television that can plug into a car’s cigarette lighter. She tells her friend to stick an old photo under his windshield with a written invitation to the drive-in by midnight. The night of, she waits at the drive-in. She prays for all of her hard work to succeed so that he won’t hurt any more women.

Eventually, the man shows up. The woman starts playing a movie on the television—the one her parents were waiting to watch—and hides behind the Camaro. The man comes up to it, looking for her. Soon enough, he sits inside and fiddles around with it. The woman waits for the Camaro to come alive, but it doesn’t. She wonders where her parents are and why they aren’t showing up to help her. She thinks of contingency plans—stealing his truck, ramming it into the Camaro with him inside, and so on—but she comes up with another plan instead.

Thinking back to her parents, who used to cut wood with a chainsaw, she remembers that they have a chainsaw in the trunk of their Camaro. She grabs for it, turns it on, and fills it with her blood as fuel. She then turns it on inside of the Camaro’s trunk, carves a hole into the backseat with it, and shuts the trunk hard. The man, still sitting inside of the Camaro, soon gets engulfed in carbon monoxide. He tries to open the door or crank down the window, but the car doesn’t let him. Eventually, he dies.

After the man dies, the car rusts all over. He grabs the television inside and puts it back in her own car. Her old car, of course, is dead too. She tries to push it forward to town. Soon enough, she sees her parents helping her pushing it. By some miracle, the car finally starts. She jumps into the driver’s seat and drives.