The film opens in a public restroom, where an unsuspecting bystander stumbles upon an unexpected and unsettling scene: two individuals engaged in an intimate act inside a stall. Misinterpreting the circumstances, our protagonist makes a hasty exit, overwhelmed by embarrassment. It’s soon revealed that the "couple" consists of Milo, a 14-year-old self-declared vampire, who has just claimed the lifeless body of a restroom patron. This shocking revelation unfolds against the gritty backdrop of Brooklyn's public housing projects, where Milo resides with his older brother, Lewis.
As the story progresses, it delves into Milo's eccentricities, including his obsession with vampire films and graphic violence, which he meticulously catalogs in a visual journal. This journal serves as both a creative outlet and a self-fashioned handbook for his imagined vampire lifestyle. It includes a comprehensive list of rules he believes are crucial to uphold the vampire code, detailing the prime times for hunting.
Milo’s everyday life is plagued by both physical and emotional struggles. After the traumatic events of the previous night, he becomes violently ill as the day drags on. Compounding his turmoil is a local gang that continues to harass him, culminating in a humiliating attack that leaves him in a state of victimhood. The scars of his existence are sadly evident when his post-shower reveal showcases a latticework of burns on his back.
That night, while away on one of his nocturnal pursuits, Milo encounters Sophie, another 14-year-old who has just moved to the area. Their paths cross again the following day in a horrifying scene where a group of drunken teenagers assaults Sophie. This horrific event drastically impacts Sophie, who resorts to self-harm as a means of coping.
Intrigued by Sophie’s distress, Milo intervenes, only to encounter a cryptic comment indicating that suicide is "against the rules," referencing his journal. While Sophie finds Milo's actions strange, there’s a mysterious attraction between them, leading them back to his home.
However, their relationship faces challenges when Sophie is disturbed by a video showing the slaughter of lambs, a harsh reminder of her trauma. She shares her source of pain, deepening Milo’s understanding of her struggles and their shared experiences.
As the plot unfolds, Milo continues his nighttime escapades, attacking a homeless man beneath a bridge for sustenance. This grotesque act serves as a vivid illustration of his internal conflict, caught between his perceived identity as a vampire and the harsh truths of adolescence.
Milo's fascination with the undead prompts him to invite Sophie to a movie marathon featuring F.W. Murnau's classic, Nosferatu, which he claims is a true representation of vampirism. Sophie counters with her enthusiasm for the Twilight series, suggesting Milo take a look at its romanticized depiction. She gifts him the first novel, symbolizing their differing views on the supernatural.
As they engage in deeper conversations, they share the sorrow of having lost both parents, with Milo revealing the mystery surrounding his mother's grave, hidden away by brother Lewis. Their bond strengthens as Sophie seeks to help Milo find his mother’s final resting place, leading them to pay their respects—an act reflecting closure and the potential for new beginnings.
Yet, this peace is shattered when Milo encounters a wealthy couple attempting to procure a mysterious substance. Hesitant to participate in their illicit endeavors, he unwittingly leads them to a rendezvous with his tormentors—the gang that has been plaguing him. The brutal murder of the boyfriend by the gang starkly illustrates Milo's precarious existence and the grim realities he faces.
Soon after, authorities question Milo about the crime, warning him that his silence may expose him to the local gang, further eroding his trust and leaving him feeling cornered.
While at the Coney Island docks, Sophie and Milo engage in a heartfelt conversation about faith, death, and their personal dreams, exploring what having a million dollars could mean for their futures. Sophie reveals her wish to escape to Alabama with her cousin, but their moment is cut short when Sophie discovers Milo's hunting journal, causing her to flee from their connection.
Desperate, Milo leaves a voicemail seeking forgiveness and a chance to explain. As darkness invades his mind, he stalks an unsuspecting family, stealing their valuables before returning home feeling weighed down by his choices.
Determined to rebuild his relationship with Andre, the gang leader, Milo offers him the trophies of his nighttime activities, an act of trust that foreshadows his visit to the police station, where he confesses to his therapist about the disturbing sun motifs recurring in his artwork.
In a surprising twist, Milo treats Sophie to a whimsical day at Coney Island, even bringing her flowers. But as the evening unfolds and they sit dockside, visions of Sophie's demise haunt him, contrasted with the stark reality of his unwillingness to join her in freedom.
The next morning, Lewis approaches Milo, sharing insights from his army days, recounting the many horrors he witnessed but never taking a life. Sensing Milo's distress, he reminds him that while guilt is profound, it pales in comparison to humanity's capacity for cruelty.
Milo's moment of gratitude quickly evaporates when he is suddenly ambushed and attacked by the revenge-seeking friends of the people he had earlier slain. Meanwhile, Sophie attempts to reconnect but ultimately boards a bus bound for Alabama, unaware that Milo has met his tragic end.
In the wake of these events, Sophie stumbles upon a heartbreaking letter from Milo, in which he expresses his disdain for Twilight and contemplates the life-and-death implications of vampiric self-destruction. He concludes that while direct self-destruction is impossible for vampires, they may facilitate their own demise through choices made to protect others.
As the credits roll, we encounter a somber image—Milo's freshly buried casket—serving as a haunting reminder of his tragic and unforeseen fate.
