Amy and Harold are living in a small refugee camp, housed in an abandoned building of an urban center.
Harold (who prefers his given name to Harry) gets through the days by listening to his battery-powered stereo. On trips to forage for safe food and other essentials, Harold will often make detours, sometimes dangerous, to look for batteries.
Amy has had enough. Harold listens to his music non-stop when he has the batteries, and gets sulky when he doesn't. She is tired of both and also of his not noticing her. She has a definite thing for Harold, and the stereo is a woman in her way. Accordingly, said obstacle gets thrown out a window several stories up.
Harold is immediately dismayed; he looks down immediately, trying to ascertain the condition of the stereo, the (KISS?) CD in the stereo, and the batteries. Though the stereo and the CD appear intact, the zombie's post-death twitching knocks the batteries into a nearby sewer grate.
"I spent weeks getting those batteries! Weeks!"
Harold begins to suit up, loading his weapons to reclaim what he can from the wreckage and replace what he can't elsewhere. Amy is dismayed; her plan has backfired, and now she wants Harold to stay in. It's safer, she says. You don't need the music. You'll die.
Harold, angry as he is about the stereo, doesn't see immediately that she likes/loves him. He argues with Amy, saying that the music is the only thing keeping him sane, that he can't kill zombies without it.
Eventually, Harold realizes that Amy likes him; this surprises him, and he likes it, but at the moment it's irritating because it complicates things. One thing it doesn't do is deter him. He is all set to go when Amy starts putting on her own gear. He asks her to stop, tells her to leave, and then realizes how much she's willing to give for him. They sort of make up (and kiss? no, too soon) and wade off into the zombie horde for replacement stuff.
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