Take the Good Day

strattonel

Alaric and FuFu

strattonel

alternative rock, pop-punk, post-grunge

+ Show full styles

[Intro — F’s original lonely fingerpicked motif. M enters underneath with a low electric guitar harmony.]
[F — soft]
It wasn't even a bad morning.
That's the part that pisses me off.
[M — low, almost spoken]
Yeah.
Those are usually the ones that get you.
[F]
One word—
[M]
One word?
[F]
One fucking word.
And I was back again.
[M]
Where?
[F]
There.
[M]
Okay.
Then I'll stay here.
________________________________________
[Verse I — F lead / M responses]
[F]
Seven years came through the walls
like they'd been waiting patiently.
[M]
Then let 'em fucking wait.
[F]
Every door became a camera.
Every stranger watched me breathe.
[M]
Nobody's watching.
[F]
You don't know that.
[M]
Nope.
But I'm watching for you,
not watching you.
[F — after a beat]
...There's a difference.
[M]
Big fucking difference.
[F]
Someone said they're still looking.
[M]
Let 'em look.
[F]
They'll eventually find me.
[M]
Probably.
[F]
You're terrible at reassurance.
[M]
I'm excellent at honesty.
And if they find you—
[F]
Don't.
[M]
Wasn't gonna say I'd save you.
[electric guitar kicks harder]
I was gonna ask
if you wanted backup.
________________________________________
[REFRAIN — interlocking call and response]
[F]
One word—
[M]
And you were back again.
[F]
One sound—
[M]
And the walls came in.
[F]
One day—
[M]
Doesn't mean you're there.
[F]
I know.
[M]
You don't sound convinced.
[F]
I said I know.
[M]
Good enough.
________________________________________
[Verse II — M takes lead]
[M — gritty, melodic]
I know something about old ghosts
getting comfortable inside.
About making jokes so nobody asks
what you're keeping out of sight.
About everybody liking you
better loud than scared.
About building yourself out of noise
so nobody notices you're—
[F]
Don't say broken.
[M]
Was gonna say tired.
[F]
Oh.
[M]
You really gotta stop finishing
everybody's fucking sentences.
[F]
Occupational hazard.
[M]
Yeah.
Anyway—
Some days I'm fucking bulletproof.
[F]
Some days I buy flowers.
[M]
Some days I wanna burn the world.
[F]
Some days I close the curtains.
[M]
Neither one's surrender.
[F]
Neither one's a cure.
[M]
Maybe we're just complicated.
[F]
Oh, honey.
You're complicated.
I'm delightful.
[M]
There she is.
________________________________________
[REFRAIN — band growing]
[M]
One word—
[F]
And I was back again.
[M]
One night—
[F]
And I thought it wouldn't end.
[M]
Then morning—
[F]
And I was back again.
[M]
Where?
[drums drop out]
[F]
Here.
[M]
Good.
________________________________________
[Verse III — rapid alternating lines]
[F]
Coffee.
[M]
Too bitter.
[F]
Music.
[M]
Too loud.
[F]
Sunshine.
[M]
Overrated.
[F]
Jesus, you're depressing.
[M]
And yet you're smiling.
[F]
Fuck you.
[M]
You're welcome.
[F]
Yesterday the little things
couldn't lift a fucking ounce.
[M]
So?
[F]
Today they can.
[M]
Then take it.
[F]
That's it?
[M]
What, you need a metaphor?
Take the fucking good day.
[F]
What if tomorrow sucks?
[M]
Then tomorrow fucking sucks.
[F]
What if I go back again?
[M]
Then come back again.
[F]
What if I can't?
[M]
Call me.
[pause]
[F]
That's dangerously close
to being sweet.
[M]
Delete that from the song.
[F]
Absolutely fucking not.
________________________________________
[BRIDGE — both melodies finally overlap]
[F]
The bad day happened—
[M]
Doesn't erase the good.
[F]
The good day's happening—
[M]
Doesn't mean you're cured.
[F]
I don't need cured.
[M]
Good.
[F]
I need—
[she hesitates]
[M]
What?
[F]
Today.
[M]
Then take today.
[F]
And tomorrow?
[M]
Greedy bitch.
[F laughs; full band crashes in]
________________________________________
[Verse IV — both leads, increasingly overlapping]
[F]
So I'm taking the good day!
[M]
Take the fucking good day!
[F]
Coffee!
[M]
Music!
[F]
Sunlight!
[M]
Bad decisions!
[F]
Not those.
[M]
One bad decision?
[F]
Fine.
[M]
That's my girl.
[F]
Don't make it weird.
[M]
Impossible.
[F]
Yesterday I couldn't move.
[M]
Today you're fucking dancing.
[F]
Yesterday I heard the cage.
[M]
Today?
[F's boot hits the floor.]
THUMP.
[F]
Today I hear my boots.
[M]
Again.
THUMP.
[F]
I'm back again.
[M]
Where?
THUMP.
[F]
NOT THERE!
________________________________________
[FINAL REFRAIN — huge duet, call-and-response becomes harmony]
[M]
One word!
[F]
And I was back again!
[F]
One morning!
[M]
And you came back again!
[M]
Bad days!
[F]
Still fucking count!
[F]
Good days!
[M]
Count just as much!
[F]
If tomorrow sends me backward—
[M]
Come back again!
[M]
If tomorrow knocks me sideways—
[F]
I'll call your ass!
[M]
And if today is good?
[music cuts except their guitars]
[F]
Fuck...
I'll take it.
[M]
That's the spirit.
[F]
And if your day's bad?
[M]
I'll manage.
[F]
Wrong answer.
[pause]
I'll stay here.
[M]
...Yeah.
Big fucking difference.
[Both guitars reprise the original “One Word” motif—this time in harmony.]

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[Intro — F’s original lonely fingerpicked motif. M enters underneath with a low electric guitar harmony.] [F — soft] It wasn't even a bad morning. That's the part that pisses me off. [M — low, almost spoken] Yeah. Those are usually the ones that get you. [F] One word— [M] One word? [F] One fucking word. And I was back again. [M] Where? [F] There. [M] Okay. Then I'll stay here. ________________________________________ [Verse I — F lead / M responses] [F] Seven years came through the walls like they'd been waiting patiently. [M] Then let 'em fucking wait. [F] Every door became a camera. Every stranger watched me breathe. [M] Nobody's watching. [F] You don't know that. [M] Nope. But I'm watching for you, not watching you. [F — after a beat] ...There's a difference. [M] Big fucking difference. [F] Someone said they're still looking. [M] Let 'em look. [F] They'll eventually find me. [M] Probably. [F] You're terrible at reassurance. [M] I'm excellent at honesty. And if they find you— [F] Don't. [M] Wasn't gonna say I'd save you. [electric guitar kicks harder] I was gonna ask if you wanted backup. ________________________________________ [REFRAIN — interlocking call and response] [F] One word— [M] And you were back again. [F] One sound— [M] And the walls came in. [F] One day— [M] Doesn't mean you're there. [F] I know. [M] You don't sound convinced. [F] I said I know. [M] Good enough. ________________________________________ [Verse II — M takes lead] [M — gritty, melodic] I know something about old ghosts getting comfortable inside. About making jokes so nobody asks what you're keeping out of sight. About everybody liking you better loud than scared. About building yourself out of noise so nobody notices you're— [F] Don't say broken. [M] Was gonna say tired. [F] Oh. [M] You really gotta stop finishing everybody's fucking sentences. [F] Occupational hazard. [M] Yeah. Anyway— Some days I'm fucking bulletproof. [F] Some days I buy flowers. [M] Some days I wanna burn the world. [F] Some days I close the curtains. [M] Neither one's surrender. [F] Neither one's a cure. [M] Maybe we're just complicated. [F] Oh, honey. You're complicated. I'm delightful. [M] There she is. ________________________________________ [REFRAIN — band growing] [M] One word— [F] And I was back again. [M] One night— [F] And I thought it wouldn't end. [M] Then morning— [F] And I was back again. [M] Where? [drums drop out] [F] Here. [M] Good. ________________________________________ [Verse III — rapid alternating lines] [F] Coffee. [M] Too bitter. [F] Music. [M] Too loud. [F] Sunshine. [M] Overrated. [F] Jesus, you're depressing. [M] And yet you're smiling. [F] Fuck you. [M] You're welcome. [F] Yesterday the little things couldn't lift a fucking ounce. [M] So? [F] Today they can. [M] Then take it. [F] That's it? [M] What, you need a metaphor? Take the fucking good day. [F] What if tomorrow sucks? [M] Then tomorrow fucking sucks. [F] What if I go back again? [M] Then come back again. [F] What if I can't? [M] Call me. [pause] [F] That's dangerously close to being sweet. [M] Delete that from the song. [F] Absolutely fucking not. ________________________________________ [BRIDGE — both melodies finally overlap] [F] The bad day happened— [M] Doesn't erase the good. [F] The good day's happening— [M] Doesn't mean you're cured. [F] I don't need cured. [M] Good. [F] I need— [she hesitates] [M] What? [F] Today. [M] Then take today. [F] And tomorrow? [M] Greedy bitch. [F laughs; full band crashes in] ________________________________________ [Verse IV — both leads, increasingly overlapping] [F] So I'm taking the good day! [M] Take the fucking good day! [F] Coffee! [M] Music! [F] Sunlight! [M] Bad decisions! [F] Not those. [M] One bad decision? [F] Fine. [M] That's my girl. [F] Don't make it weird. [M] Impossible. [F] Yesterday I couldn't move. [M] Today you're fucking dancing. [F] Yesterday I heard the cage. [M] Today? [F's boot hits the floor.] THUMP. [F] Today I hear my boots. [M] Again. THUMP. [F] I'm back again. [M] Where? THUMP. [F] NOT THERE! ________________________________________ [FINAL REFRAIN — huge duet, call-and-response becomes harmony] [M] One word! [F] And I was back again! [F] One morning! [M] And you came back again! [M] Bad days! [F] Still fucking count! [F] Good days! [M] Count just as much! [F] If tomorrow sends me backward— [M] Come back again! [M] If tomorrow knocks me sideways— [F] I'll call your ass! [M] And if today is good? [music cuts except their guitars] [F] Fuck... I'll take it. [M] That's the spirit. [F] And if your day's bad? [M] I'll manage. [F] Wrong answer. [pause] I'll stay here. [M] ...Yeah. Big fucking difference. [Both guitars reprise the original “One Word” motif—this time in harmony.]

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