“It’s a Nice Day to Start Again”

The expression “It’s a Nice Day to Start Again” is the scene’s sudden refrain of release: as Billy Idol’s music takes hold of Peter, a remembered detail from his relationship with Eva opens into a present-tense moment of collective singing and sexual boldness. The lyric promises a beginning, but the scene does not resolve the tensions among the four friends; instead, it carries them into a new, more intimate boundary crossing.

Memory and Recognition

The musical moment begins when Eva calls for Billy Idol and animatedly recalls that she and Peter met after she requested one of his songs from him. That recollection makes the music more than a change of track: it briefly returns their shared history to the room, narrated by Eva while the group is together in the kitchen. Steef comes back dancing, a cigarette hanging from his mouth, and accepts her choice of music. The past is not recounted at length; it surfaces through a singer’s name and a story of how the couple first encountered one another.

Eva says she used to be in love with Billy Idol. Rebecca answers that she has never heard of him, leaving Eva to compare the singer with Steef. Peter is convinced that Eva makes the comparison deliberately, to put him in his place. The moment therefore holds two tones at once: Eva’s bright, tipsy enthusiasm and Peter’s suspicion that her remark is aimed at him. The lyric’s promise of starting again arrives within that unresolved unease, not after it has been cleared away.

The Refrain as Release

As Steef spills beer, Peter finds that he does not care about the mess. He moves with the music, spreads his arms, closes his eyes, and attends to the guitar and Billy Idol’s rough voice. The narration describes the music as taking possession of him; his body seems liquid, and the sensation builds until he screams. The expression lands at the crest of that surrender: “It's a nice day to START AGAIN.” Its all-capitalized ending gives the refrain a burst of emphasis within Peter’s account.

Here, starting again is a felt possibility rather than a stated plan. The scene supplies no decision to leave the past behind or repair a relationship. Instead, music suspends Peter’s attention to the beer on the floor and to the implication he reads in Eva’s comparison. The phrase names an instant in which the song, the remembered beginning of the couple’s relationship, and Peter’s physical response briefly converge. Its force comes from that contrast: the words sound affirmative, while the surrounding relationships remain unsettled.

From Shared Singing to Physical Contact

The refrain spreads beyond Peter’s inward response. All four shout together like exuberant teenagers; Eva and Rebecca jump after kicking off their shoes. Steef puts his arms around both women and presses them against him. They nearly topple over, laughing, as his hands appear to grasp their breasts. Eva lets him continue. The lyric’s collective energy thus accompanies a scene in which playful movement and sexual contact become difficult to separate.

Peter then pulls Eva away from Steef, places his hands around her hips, and presses his erection against her. His response is not simply to watch the others: he inserts himself physically into the encounter. The sequence moves from a song Eva selected because of her history with Peter, through her comparison of Billy Idol to Steef, to the men’s contact with her. The lyric’s suggestion of renewal therefore sits beside a tangible assertion of desire and possession.

Meaning in the Scene

The expression’s significance depends on its placement. Eva’s recollection makes music a link to the couple’s beginning; Peter’s surrender to the guitar and voice turns that link into an immediate bodily experience; and the group’s shouting carries the moment into shared, increasingly intimate action. The phrase does not explain the four friends’ intentions or establish what their relationships will become. It marks the scene’s change in mood and momentum, as Peter stops caring about the spilled beer and moves from listening to taking part.

The ending sharpens that shift into a pair of brief declarations: Peter dares everything, then identifies himself with Billy Idol. In the context of the music’s hold over him, the identification presents a temporary, performed confidence rather than a considered account of who he is. The song’s promise of another start is thus both exhilarating and unstable: it accompanies a moment of release, but that release takes the form of physical boundary crossing, not a settled new beginning.