Two voices seem to run through "only option": a pleading one and a bossy one. The speaker opens by insisting, almost begging, that the listener is the only one in their heart. But the next lines undercut the comfort. In a world described as dystopian, with no one alive to love or like, being "the only one" may simply mean there is nobody else left.
That's what makes the demand "Don't tell me what to do" so unsettling. The speaker claims to be the listener's only option, which sounds less like romance and more like pressure, or even control. The imagery is bleak throughout: empty cars, empty eyes, an empty sky, and dust that blinds. The speaker sees only darkness, while the listener sees "no options."
The mood is hollow, tense, and numb. Love here feels like what remains when everything else has gone, and the poem leaves us unsure whether that's devotion or a trap.