Possibly in Michigan

Sharon and Janice browse for perfume in an eerily empty department store while a masked man named Arthur shadows them. The scene hints at their shared attraction to danger and violence, framing violence as an extension of their world. Arthur's presence foreshadows the threat to come.

Janice notices Arthur among the displays and both women hurry to escape the store. The chase establishes a tense pursuit and signals that Arthur is more than a casual follower. The danger shifts from a stalker in the shadows to a direct chase.

Sharon and Janice drive home, but Arthur continues to shadow them and waits outside Sharon's house for Janice to leave. The stalking intensifies the sense that their safe space is compromised. The threat now centers on a home invasion looming at night.

A voiceover explains that Arthur has worn many masks and forgotten who he is, imagining himself as frog and prince charming. The monologue deepens the unsettling idea that charm can hide monstrous impulses. It foreshadows the multiplicity of his personas.

Arthur approaches Sharon's front door, appearing as a normal man and rings it, signaling the transition from normalcy to intrusion. The moment heightens the claustrophobic dread of an unwelcome visitor. The door becomes the threshold to danger.

At her own home, Janice shoots at various masked figures who materialize in new positions after each shot. The ongoing assaults create a relentless rhythm of attack and defense. Domestic space becomes a battlefield as danger penetrates private life.

Sharon wakes, goes to answer the door, and encounters Arthur. While she phones Janice for help, Arthur picks up a stone from Sharon's yard, revealing a rotting mask beneath it, then shatters a bedroom window and breaks into the room. Glass and worms on the bed amplify the horror of the intrusion.

Arthur advances behind Sharon and, in a distorted voice, suggests he will eat her, or dismember her slowly, all in the name of love. He pins her to the bed and chokes her while asserting control. Janice, still on the phone, realizes the danger and prepares to intervene.

Janice raises her pistol and fatally shoots Arthur, ending his immediate threat. Sharon collapses, looking at the corpse with disgust. The danger posed by Arthur is suddenly removed, but the women are far from safe yet.

The women lay Arthur's body on newspapers and begin to dismember him, cooking some parts into soup. They are nude as they consume his remaining limbs and feed scraps to their dog. The act reveals their chilling thirst for revenge and autonomy over the killer's body.

While they smoke, Janice notices another masked man outside the window and signals to Sharon as the figure hides. The danger persists beyond Arthur's death, hinting at an ongoing cycle of violence. The window outside frames the looming threat.

The women wrap Arthur's bones in newspapers and place them into a trash bag. They drag the bag to the curb, where a garbage truck arrives and collects it, destroying the physical evidence. The criminals escape the immediate consequences of their actions.

After disposing the evidence, the women share a cigarette and monitor the street for further threats. The film ends with a tense, unresolved sense that danger and vigilance continue beyond their act of revenge. Their alliance remains intact but fragile.