It's early autumn of 2022, a little after midnight, and Luna pulls off at an old two-screen drive-in theatre outside Naylor, Missouri — a place that's supposedly been closed since the '90s. The marquee is dark, the gravel lot is overgrown, but the screen on the left is glowing blue, playing something with no projector light. She walks closer, and the film — grain, static, a single repeated loop — shows a woman standing at the edge of a field, waving. Not at the camera. At something behind it. Luna waits. She watches the loop cycle four times. The woman's hand moves differently each pass. The fifth time, the screen goes dark, and Luna notices the gravel under her shoes is wet, even though it hasn't rained in weeks. She leaves, but the radio in her car — turned off — is humming a low, steady tone. She doesn't look back. She doesn't know how to explain the wet gravel or the hum. She just keeps driving.