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Intro: F# C# F# C# F# C# G#
C#In the boardroom the quiet man takG#es a second to think what tF#o do; C# He's out F#of his seat and he's starting to speC#ak and he hears his own voice; G#
C#For years and yearsG# he's done nothing but bear down, and put up F#with allC# their demands; She sitsF# like a viper and offers a clC#ock wiG#thout giving a damn...He takes it;
C#"Honour fG#orbids me,F# but honC#our be damned, you have wined till you got what you want; F#I did the work aC#nd when G#things were going badly you left us to rot";
Bridge: F# C# F# C# F# C# G#, etc.
C#He locked the G#door of the bF#oardroomC# and turned, like the scene from the old country song; F#Towering over theC# table he is losG#t; he is drunk with it all:
&qC#uot;You only came back to us when we'd turnG#ed it arouF#nd, when we'd rescueC#d your arse from the fire; F#Your cC#ontribution to all that we didG# is to say it was dire"
Bridge 2: F# C# F# C# F# C# G#, etc. C# (one strum) G#(ibid.) F#(ibid.) C#(ibid). "Night after day after night I've been working, despite of you fucking us all; F#(ibid.) C#(ibid) G#(ibid.) Now I'm going to die, I don't care if you cry, just please leave me alone;
And spare those tears for youC#rself, wG#e've hadF# those 'C#till we're sick, you should leave while you still the chance";
The otF#hers werC#e shocked at this shameful displayF# at thC#e end of an hounoured career; He pausF#ed in the silence toC# pull down his tG#ie and observe the melee.
Given that these are all sharp chords, they can be played barre style, or open on capo one; whichever better to your ear. R. T. Devitt