Developments Hands Like Houses
Intro (Piano):
F#, D#m, C#, F#
F#, C#, F#, C#
Intro (with Guitar):
(B, D#m, C#
B, C#, F#) x2
[F#]
We get in our own wa[F#]y, tripping on our fee[B]t.
Filling up our head[F#]s too much with words too hard to spea[B]k.
Drowning in a pla[D#m]ce, where the night cannot escap[B]e, commit ourselves in[F#]to the
depths, exposed against a pag[B]e.
[D#m]Caught in a phra[C#]se, an echo in our min[F#]ds, a fl[D#m]ash, a flo[C#]od, and it's [D#m]burned
into our eyes.
[F#]I can't explain [C#]enough, and I won't let it [F#]last the night.
I'll [C#]show you that the image is still there unse[F#]en.
[F#]It's darkest before the lig[C#]ht, if we shut our ey[F#]es to see the [C#]things that we
have lost inside the lines betwee[B]n.
[B]Between the black and whi[C#]te, where everything goes g[D#m]rey, and everything's
[C#]unsaid, undone, and the negative bleeds awa[B]y to reveal the memo[C#]ry that we've
waited for so l[D#m]ong for the image shifts and the ac[C#]id drips down the paper to
the floor.
[D#m]Caught in a phra[C#]se, an echo in our min[F#]ds, a fl[D#m]ash, a flo[C#]od, and it's [D#m]burned
into our eyes.
[F#]I can't explain [C#]enough, and I won't let it [F#]last the night.
I'll [C#]show you that the image is still there unse[F#]en.
[F#]It's darkest before the lig[C#]ht, if we shut our ey[F#]es to see the [C#]things that we
have lost inside the lines betwee[B]n.
We're so nervous to [D#m]see if we've [C#]let too much i[B]n, [F#]if we, if we were [D#m]out of
focus or [C#]out of frame.
[F#]I know it's a moment of [D#m]truth, if a [C#]recoll[F#]ection reflects reality, [D#m]
or if it's [C#]lost forever.
[F#]I can't explain [C#]enough, and I won't [F#]let it [B]last the night.
I'll show you th[C#]at the image is still there unse[F#]en.
[F#]It's darkest before the lig[C#]ht, if we shut our ey[F#]es to see the [C#]things that we
have lost inside the lines betwe[F#]en.
[F#]I can't explain enou[C#]gh, and I won't let it[D#m] las[C#]t.
The image is still there, unse[F#]en.
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