* (ELECTRIC GUITAR COVER OF '20TH CENTURY FOX' FANFARE) - (CROWD CHEERS) - FREDDIE: Hey, hey, hey, hey, hey! (BREATHES DEEPLY) (COUGHS) - ANNOUNCER: It's 12 noon in London, 7am in Philadelphia, and around the world, it's time for Live Aid. Wembley welcomes their Royal Highnesses, the Prince and Princess of Wales. - # ...look in the mirror and cry. - # And cry. - # Lord, what you're doing to me. # I have spent all my years in believing you. # But I just can't get no relief, Lord! # Somebody. - # Somebody. - # Ooh, somebody. - # Somebody. - # Can anybody find me # somebody to love? # I work hard... - # He works hard. - # ... everyday of my life. # I work till I ache in my bones. # At the end... - # At the end of the day. - # ...I take home my hard-earned pay all on my own. # I get down on my knees and I start to pray, # till the tears run down from my eyes. # Lord, somebody. - # Somebody. - # Ooh, somebody. - # Please. - # Can anybody find me # somebody to love? - MAN: David, look at me. - # He works hard... - # Everyday. - # ...everyday. - # I try and I try and I try, # but everybody wants to put me down. # They say I'm going crazy. # They say I got a lot of water in my brain. # Ah, got no common sense. # I got nobody left to believe in. # I just gotta get out of this prison cell. # One day I'm gonna be free, Lord! - # Find me somebody to love. # Find me somebody to love. # Find me somebody to love. # Find me somebody to love. # Find me somebody to love. - # Oooh. - # Find me somebody to love. # Find me somebody to love. - # Whoo, ooh, ooh, ooh, oooh. - # Somebody, somebody, somebody, somebody, # somebody find me, somebody find me somebody to love. # - # Can anybody find me... (CROWD CHEERS) # ...somebody to # love? # (CONVEYOR BELT RATTLES) (THUD!) - Oi, you've missed one, Pakkie! - I'm not from Pakistan. # Yesterday, my life was in ruin. # Now today, # I know what I'm doing. # Got a feeling # I should be doing all right. # (LAUGHTER ON TV) - Dinner is ready. - I'm not hungry, Mum. - Hmm, where are you going? - Out with friends. - A girl? - Oh, Mum. - Look at you. Give your mother a kiss. - I'm going to be late. - You're always late. (DOOR OPENS) - Hi, Papa. How was work? - Out again, Farrokh? - It's Freddie now, Papa. - Freddie or Farrokh... what difference does it make when you're out every night, no thought of the future in your head? Good thoughts, good words, good deeds ` that's what you should aspire to. - Yes. And how's that worked out for you? - # Doing all right. (CROWD CHATTERS) - # Where will I be this time tomorrow? # Jump in joy or sinking in sorrow? # Anyway, # I should be doing all right. - # Doing all right. - What can I get for you? - Pint of lager. Thank you. - Thanks. (UPBEAT GUITAR MUSIC PLAYS) - # Should be waiting for the sun. # And anyway, I've got to hide away. (HEAVY GUITAR MUSIC PLAYS, CROWD CHEERS) (PEOPLE CHATTER) - Humpy Bong? - Humpy Bong. They're going places. They're gonna be big. - Humpy Bong? Are you joking? - Don't do it, Tim. - I'm sorry, guys, but... we're not going anywhere with this. What? College gigs, pubs? (SCOFFS) Gotta give it a go. (CROWD CHATTERS) - You all right? - Sorry. Oh, I was just looking for the band. - They're usually out back. - I like your coat. - It's from Biba. - She works there. - Thank you. - I think he's right. That show was a load of bollocks. - Well, th-there was room for improvement, yeah. - I've got better things to do with my Saturday nights. I could give you their names. - I enjoyed the show. - Thanks, man. - Thank you. - I've been following you for a while, actually. Smile ` makes sense for a dental student. And you're astrophysics, aren't you? - Yeah. - Makes you the clever one. - Yeah, I suppose it does, yeah. - I study design here. - Oh, yeah? - Yeah. Also, um,... I write songs. Might be of interest to you. It's just a bit of fun, really. - Well, you're five minutes too late. - Our lead singer just quit. - Well, then you'll need someone new. - Any ideas? - What about me? - Uh... Not with those teeth, mate. (CHUCKLES) - # I know what I'm doing. # I got a feeling I should be doing all right. # ALL HARMONISING: # Doing all right. # - (LAUGHS) - I was born with four additional incisors. More space in my mouth means more range. I'll consider your offer. - Uh, do you play bass? - Nope. (CREAM'S 'SUNSHINE OF YOUR LOVE') - WOMAN: Excuse me. So, you found me, then. How can I help you? - Oh. Um, I rather liked these. Do you think you have them in my size? - This is the ladies' section, so I'm not exactly sure. - There wasn't a sign or anything. - I don't think it should really matter, do you? - I thought you might like this. - Are you even allowed to be in here? - No, not really. - One more thing. May I? (MUSIC PLAYS IN THE DISTANCE) You have such an exotic look. I love your style. I think we should all take more risks. What do you think? (CROWD CHATTERS) - Hello, everybody. We've got a few, uh, fresh faces. This is John Deacon, our bass player. (CROWD CHEERS) And our new lead singer, Freddie Bul` Bulsara. Freddie Bulsara. - That's right. - And, uh, Roger, of course ` the biggest member of them all. - WOMAN: Hi, Roger! - Hello, all you beautiful people. - Where's Tim? Who's the Pakkie? - What have you done with Tim? - Ready, Freddie? - Let's do it. (BAND PLAYS 'KEEP YOURSELF ALIVE') (MIC STAND SQUEAKS) (LAUGHTER) # Keep yourself alive. (STAND CLATTERS, CROWD MURMURS) # I was told a million times of all the troubles in my way. # Mind you grow a little wiser, little better every day. # But if I rode a million rivers, I crossed a million miles,... - No, no. - # ...still be where I started,... - Wrong lyric! # ...bread and butter for a smile. - Wrong lyric. - # Sold a million mirror in shopping alleyways, # but I never saw my face in any window any day. # Now they say your folks are telling you be a superstar. # Tell you, just be satisfied and stay right where you are. - ALL: # Keep yourself alive. Keep yourself alive. - # All you people, keep yourself alive. - Learn the song, Freddie. (GUITAR SOLO PLAYS) - SOUNDTRACK: # Do you think you're better everyday? - # No, I just think I'm two steps nearer to my grave. (HORN HOOTS) - # Keep yourself alive. - # Come on, come on. - # Keep yourself alive. # - # All you people,... You're late. # ...keep yourself alive. # - This is bollocks! - It's, uh, counterclockwise, I think you'll find, John. - Oh, is it (?) Thank you, Brian. Would you like to do it? Please, feel free. - No, no, no. You're doing a good job. - We sold out every pub and uni south of Glasgow, and I'm stuck in the middle of nowhere, eating a ham sandwich! - Trouble is, we're just not thinking big enough. - What have you got in mind, Fred? - An album. - We can't afford an album. - Oh, we'll find a way. How much do you think we can get for this van? - I hope you're joking. - That's three months' wages. - And a perfectly good van. - Don't be so dramatic, darling. You're recording an album tonight. Let's go! Don't you think I sound like shit? - No, it's good. - Can we try it again? - Sure, yeah. Sure, it's your money. - Literally. - # You are mine, I possess you. # I belong to you forever, ah, ah, ah. # - Sounds a lot better. - We need to get experimental. - Try bouncing it left and right for the ah-ah-ahs. TRACK: # You are mine, I possess you. - # I belong to you forever,... - (AUDIO SHIFTS BETWEEN SPEAKERS) - # ...ah, ah, ah. # - Now dead center for the last. - Then blast it! (INSTRUMENTAL PLAYS) - # Fear me, you loathsome, lazy creatures. - That's good, right? - Do we have time to stack a few more? - The studio opens at 8, so we got 30 more minutes. (COINS JINGLE) # ...I possess you, I belong to you forever, ah, ah, ah. # (INSTRUMENTAL PLAYS) - Oi, RT, who are these kids in the box? - A student band doing some weird stuff. - How about demos? You got some? - (SIGHS) Been up all night, mate. Hey, uh,... Jimmy, you're riding with Rodney. - Far out. Big Rod, eh? - Everyone gets Rodneyed on their first day. - Hop in, mate. Don't worry about these bumholes! - (CHUCKLES) - Nah, they're good guys. Yeah, the guys always joke that I like to be on site before they've even left the base. But you know, I like to get there early, have a muffin, relax. You like muffins? (ENGINE REVS) Oh, I just got a new V8. Not a bogey-green one, though! (BOTH CHUCKLE) Hey, let's take the scenic route, eh? It's longer, but I make it fun. That's why the guys do paper, scissors, rock to see who comes with me. - Cos no one wants to go with that other dude you guys work with, eh? The one we were having a crack at this morning? - Who, Grubby Aaron? - Nah, you know, the guy that's always gunning it. - No one wants to ride with him. Yeah! Oh, man, he's got a V8 too. * - So the new name is Queen? - As in Her Royal Highness. And because it's outrageous, and I can't think of anyone more outrageous than me. - (CHUCKLES) This is the most impractical bed. (PLAYS 'BOHEMIAN RHAPSODY' OPENING CHORDS) That's beautiful. - Think it has potential. - I have to go to work. - I simply won't allow it. - You're going to support me if I get fired? - I'll always look after you. - CHUCKLES: I'm going to` I'm going to be late. - How beautiful you are. - When I was a little girl, I used to run around the house and hide and... he couldn't find me. Clever girl. - Please tell your father it's nice to meet him. - I have. - Then thank him for the lovely birthday cake. - I have. - Then tell him his daughter's an epic (WHISPERS) shag. - Freddie, he can read lips. - Mary, I can't tell you how long I have waited for Farrokh to bring home a nice girl like you. - Farrokh? - Did Farrokh not tell you he was born in Zanzibar? - No, he did not. - MUTTERS: One minute. - I thought Freddie was born in London. - Oh, he was. At the age of 18. - Shut up. - Our family is Indian Parsee. - Mum. Mum, Mum. - Mary... - Mum. Mum, please... - Here. Have a look at these. - (ALL CLAMOUR) - A thousand years ago, the Parsees fled to India from Persia to escape Muslim persecution. - BRIAN: Really? That's terrible. So why did you leave Zanzibar? - We didn't leave. We were chased out with just the clothes on our backs. - He was quite a good boxer, actually. - # Happy birthday to me. - He had to be. His opponents went for his teeth, always trying to punch them in. - # Happy birthday to me. - So how old is he in this photo? - I think three or four years old. - # Happy birthday Mr Mercury. - Really? Boxing already at that age? - He was so good. - # Happy birthday to me! # - Mercury? - No looking back. Only forward. - So, now the family name's not good enough for you? - It's just a stage name. - No, it's not. I changed it legally. Got a new passport and everything. - Kash, how old are you here? - I don't know. It was before Freddie went off to boarding school. - I sent Farrokh away to make a good Parsee boy of him. (FREDDIE PLAYS PIANO) He was too wild and unruly. But what good did it do? Good thoughts, good words, good deeds. - # I come from London town. - (PHONE RINGS) - You can't get anywhere pretending to be someone you're not. - Who'd like some cake? - Cake is always good. - Hello? Just a moment. Freddie Mercury. Phone call. - Quite like the sound of that. Yes, hello? - Freddie tells me that you're some sort of a scientist. - Astrophysics, actually. - Ooh. - When? - He's a dentist. - Dentist? - I was never a dentist. - BOTH: He's a dentist. - (CHUCKLES) - I see. - Kash,... what are you doing later? - Homework. - (CLEARS THROAT) - Just making conversation. (INDISTINCT CONVERSATION) - I have an announcement. One of the A&R men from EMI saw us recording ` gave our demo to John Reid. He looks after Elton John. - MUTTERS: Oh my God. - Mr Reid wants to meet us and possibly even manage us. (ALL CLAMOUR) - You're sure he said 12 o'clock? - Yes. 'Midday at the pub, don't be drunk.' That's what he said. - You look a bit nervous, Brian. - John, I'm fine. - You're usually so particular. - You just gotta be cool. Wow! - MAN MUTTERS: Wanker. (LAUGHS) - I didn't know it was fancy dress, Fred. - I've gotta make an impression, darling. - You look like an angry lizard. - It's your best work. - Very subtle. - You gonna fly away? Can I borrow it for Sunday church? - So, this is Queen. And you... must be Freddie Mercury. You've got a gift. You all have. So tell me, what makes Queen any different from all the other wannabe rock stars I meet? - I'll tell you what it is. We're four misfits who don't belong together, playing to the other misfits, the outcasts right at the back of the room who are pretty sure they don't belong either. We belong to them. - We're a family. - But no two of us are the same. - Paul. Paul Prenter, meet Queen ` our new signing. Paul will be looking after your day-to-day. - Pleasure. - If I can get you on the radio, maybe I can get you on television. - Top of the Pops? - Hopefully. - And then? - And then? It's only the biggest television program in the country. No one's ever even heard of you. Look, I admire your enthusiasm. If it goes well, if it happens, I've got a promotional tour of Japan in mind. - We'll` We'll want more. - Every band wants more. - Every band's not Queen. (BELL RINGS) - Listen, I understand. I understand that it's the policy of the BBC. - We have procedures. - This is shit. - I need you to explain it to the band, please. - OK, let's make it quick. - Freddie, boys. - Look, chaps, it is going to be playback. Lip synch's all that's required. - We do know how to play our instruments. - You want me to lip synch? - I don't understand why we can't simply perform live. - The audience will never know the difference. - We'll know the bloody difference. - This is the BBC. That's how things are done around here. All right? Don't be a nuisance. - Freddie, it'll be great. - You'll just have to make sure no one's looking at your lips. - (IMITATES STAGE MANAGER) Well, the way things are done are a load of bollocks, old chap. This is the BBC. - I'm relieved. - You would be. - Look, perfect performance. - # She's a Killer Queen. Gunpowder, gelatine, # dynamite with a laser beam, # guaranteed to blow your mind, any time. (PLAYS GUITAR SOLO) - MAN: Number two, only above the waist. Camera up! Camera two! (MUTTERS) No one wants to see this while they're eating their meal. - # Drop of a hat, she's as willing as, # playful as a pussy cat, # momentarily out of action, # temporarily out of gas, to absolutely drive you wild, wild. # (KEYS PLONK DISCORDANTLY) - What was it like singing for all those people? - When I know they're listening,... when I know I really have them,... I couldn't sing off-key if I tried. I'm exactly the person I was always meant to be. I'm not afraid of anything. The only other time I ever feel that way is when I'm with you. Don't move. - (CHUCKLES) - Don't move. You're the love of my life. - WHISPERS: Freddie. Which finger do I put this on? - Wedding finger. Will you marry me? - Yes! - Are you gonna leave it in the box? - (GIGGLES) Freddie, it's beautiful. I love it. - Promise me you'll never take it off. - Oh, I promise. - No matter what. - I love you, Freddie. You're going to do such great things. - We're going to do great things. (DOOR OPENS) - Your phone's off the hook. This is Crystal. - Cheryl. - Oh, that's right. My mistake. - Where's your loo? - Uh, just down the hall. - Oh, come on in (!) Make yourselves at home. Don't mind us. - Hello, Mary. How's your dad? - Yeah, pretty well. Thanks. - Good. - What's going on, Brian? - Well, if you'd answered your phone, you'd know already. - This really isn't a good time, guys. - John Reid called today. He has a little tour in mind for us. - It's not little, Brian. He's booked us a tour of America. The album's hit the charts in the US! - Oh, yes. Yes! - (LAUGHS) - LAUGHS: Yes! (ALL LAUGH) - It's happening! (BAND PLAYS 'FAT BOTTOMED GIRLS') - Now, who wants to take a ride? - # I've been singing with my band, # across the water, across the land. # I've seen every blue-eyed floozy on the way. # But their beauty and their style went kind of smooth after a while. # Take me to them dirty ladies every time. Come on! # Oh, you gonna take me how tonight. # Oh, down beside your red fire light. - We love you, Cleveland. # Oh,... - We love you, Houston. - # ...give it all you've got. - We love you, Denver! Very happy to be here. # ...you make the rocking world go round. - MARY: And are the crowds big? - Well, we're selling out every night. I just wish you were here to see it. They really love us. We love you, Portland! # Now I got mortgages... He's got a big arse too. - We love you, New Orleans. - # Ain't no beauty queens in this locality. - We love you, Atlanta! - # I still got my pleasure, still got my greatest treasure. Rog, come down here and say hello. - We love you, Pittsburgh! - I'm good. I just miss you. - What are you doing? You can't possibly be having any fun without me. - Nothing as exciting as America. - # ...down beside your red fire light. # Oh, you gonna let it all hang out. # Fat bottomed girls, you make the rocking world go round. - Say hi to the boys for me. - I will. Love you. - Bye, Freddie. I love you. - # Get on your bikes and ride! Ride 'em, cowboy. Ride 'em. Come on. Hey! Oh yeah. That's the way I like it. Yeah, you ride 'em. (VOCALISES) All right. # Ooh, yeah! # Ooh, yeah. All right. Yeah! # Ohhh. # (VOCALISES) (BIRDS SQUAWKING, BONGO DRUMMING) Excuse me, where am I? You're lost in the procrastination place. Yeah, right. That makes sense. MAN: Slap yourself out of it. Whoo! * - Hello. - You're late. - Am I? - We saved you a seat. - Lovely. - OK. So, now that we're all here, Jim, this is Ray Foster. Ray, this is the band's lawyer, Jim Beach. - Hello. - You must stop calling him that. - That's his name. - No, we cannot keep calling him Jim Beach. No, that's absurd, not to mention, unspeakably boring. Miami. From now on, I dub thee 'Miami Beach'. - (CHUCKLES) The sun always sets behind you, doesn't it? On Miami Beach. - Hmm. - Right. Now that everybody's got an acceptable name, let's get to it. Look, we just really need something special. More hits. Like Killer Queen, only bigger. - It's not bloody widgets we're making. We can't just reproduce Killer Queen. - No. We can do better. (RECORD PLAYER WHIRRS) (BIZET'S 'HABANERA' PLAYS) - It's opera. - Opera. - Opera! - There seems to be an echo in here. # Si tu ne m'aimes pas, je t'aime. # Si je t'aime prends garde a toi. # Prends garde a toi! # Si tu ne m'aimes pas. # Si tu ne m'aimes pas, je t'aime. # Prends garde a toi! # Mais si je t'aime, # si je t'aime # Prends garde... # (MUSIC FADES) - See, we don't want to repeat ourselves. The same formula over and over. - Formulas are a complete and utter waste of time. - Formulas work. Let's stick with the formulas. I like formulas. - We'll call the album... A Night at the Opera. - Are you aware that no one actually likes opera? - I like opera. - Do you? - I do. - No, don't misunderstand, darling. It's a rock and roll record... with the scale of opera, the pathos of Greek tragedy, the wit of Shakespeare, the... unbridled joy of musical theater. - It's a musical experience. - Yeah. - Rather than just another record. Something for everyone. Something... Hmm. Something that will make people feel belongs to them. We'll mix genres. We'll cross boundaries. We'll` We'll... We'll speak in bloody tongues if we want to. - There's no musical ghetto that can contain us. - That's it. - No one knows what Queen means because it doesn't mean one thing. - What do you think, John? - I... agree with the band. - MUTTERS: Of course you do. How about you, uh... - Miami. - (CHUCKLES LIGHTLY) - Fortune favours the bold. - Surely, a man of your... unique taste isn't afraid of a little risk? - Please don't make me regret this. - You're fun. (ROOSTER CROWS) - Recording studio? - Well, the idea was to get away from all distractions. Right, I know it's not the Ritz. Not even close. Roger, you're in here. - Right. - Freddie, this is you. Biggest room. Brian, that's you. John, you're downstairs. - (EXHALES HEAVILY) - And... this is all yours, John. Smaller rooms don't get nearly as cold. - OK. - Hmm. (SNIFFLES) Oh, that's really good. (GENTLE PIANO MUSIC) # Love of my life, # you've hurt me. # You've broken my heart # And now you leave me # Love of my life, can't you see? # Bring it back, bring it back # Bring it back, bring it back # Don't take it away from # me because # you don't know # what it means to me # - It's beautiful. What's it called? - Love of My Life. I wrote it for Mary. - If you say so. - (CHUCKLES LIGHTLY) Don't... Don't misunderstand, Paul. Mary knows me in a way that no one else ever will. - I know you, Freddie Mercury. - Is that what you think? Oh, no, you don't know me. You just see what you want to see. We work together. That's all. (COWS LOW) (CHICKENS CLUCK) - I put my heart and soul into this song. - No one is disputing that. - And you don't like it because you want your songs on the album! - It's not that, Roger. - Then what is it? - I'm in Love with My Car. Maybe it's not strong enough? - What does that even mean, 'not strong enough'? - I know I'm late. What did I miss? - Discussing Roger's car song. - Is it strong enough? That's all I'm asking. If I'm on my own here, then I apologize. - How does your new song go, then, hmm? READS: You call me sweet, like I'm some kind of cheese. - It's good. - Wow. - Is that`? You know. 'When my hand's on your grease gun.' That's very subtle, isn't it (?) - It's a metaphor, Brian. - It's just a bit weird, Roger. What exactly are you doing with that car? - Children, please. We could all murder each other, but then who would be left to record this album? - Statistically speaking, most bands don't fail ` they break up. - Why the hell would you say something like that? Roger, there's only room in this band for one hysterical queen. - You know why you're angry, Roger? - Why? Cos you know your song isn't strong enough. - Is that strong enough? - (CLATTERING) - What about that? BOTH: Not the coffee machine! (LIGHT PIANO MUSIC) (PLAYS 'BOHEMIAN RHAPSODY') # Goodbye, everybody. # I've got to go. # Gotta leave you all behind and face the truth. # Mama... # Ooh, ooh, ooh, ooh. # I don't wanna die. # I sometimes wish I'd never been born at all # - (PLAYS INSTRUMENTAL) - What next? - That was pretty damn good. Brilliant. I love that. - Press the button, Freddie. - I know. I know where it is. I know where... - Knock, knock. - Good. - It's good. Um... You know, play it like you wrote it. - Well, I did. I wrote that part. - Taking the piss. - OK. Are you happy? - I think it's beautiful. It's almost perfect. - Almost? - Yes, give it more rock and roll. - Well, I'm always up for that, Fred. - Put your body into it. - Right. OK. Put my body into it. I got it. - Not like that. - No, I got it. I got it. - Bit more soul, yeah? - All right. Give it more heart. - I'll do that. We good to go? Roy, you good? - Oh, and then there's the operatic section. - You're gonna love it. - The operatic section? - I know. It sounds crazy. - I love it, Fred. I love it. - I don't know. It could be a flop. It could work. - I love it! - (CHUCKLES) What have we got to lose? - (CHUCKLES) Nothing. - If you say so. - OK, let's go. - Deacy. - # Wish I'd never been born at all. - (PLAYS INSTRUMENTAL) - # Galileo! - RECORDING: # Galileo! - # Galileo Figaro! - # Magnifico # - How was that? - Freddie? - Higher. - Can you go a bit higher? - If I go any higher, only dogs will hear me. - Try. - Freddie's note. Sorry. - (GROANS) Go on, roll the tape. - Overdub 24 of 'Fred's Thing.' - # ...very, very frightening me # - # Galileo! - # Galileo! - # Galileo! - # Galileo! - # Galileo, Figaro. # - # Magnifico. # - How was that? Better? - Higher. - Jesus! How many more Galileos do you want? - Freddie wants to do a few more overdubs. - Do we even have any tape left? - I do have to say the tape is wearing out. It can't take much more. - Yeah, we can't afford much more. We're already three weeks over schedule. - Dub 26 of, uh, 'Fred's Thing.' - # ...very, very frightening me # - One more, one more. One more. Again. Go on, roll the track. - Who even is Galileo? My nuts feel like they're in my chest right now. Are we done? - That's it. He loves you. - # ...nobody loves me. # - # He's just a poor boy from a poor family... # - That's it. - # Spare him his life from this monstrosity. # - It's beautiful. Love it! - # Bismillah! No! - # We will not let you go. # For me... # For me... # For me! # Nothing really matters... # Nothing really matters... # to me. # Any way the wind blows. # (CYMBALS CRASH) - Oh, Christ. Well,... I'm not entirely sure that's the album you promised us. - No, it's better than the album we promised you. It's better than any album anyone's ever promised you, darling. - It's a bloody masterpiece. - Christ. - It is a good album, Ray. - We prefer 'masterpiece'. - It's expensive, and as for 'Bohemian... - ...Rhapsody.' - Rhapsody. What is that? - It's an epic poem. - It goes on forever. Six bloody minutes. - I pity your wife if you think six minutes is forever. (CHUCKLING) - And do you know what? We're going to release it as our single. - (CHUCKLES DRILY) Not possible. Anything over three minutes and the radio stations won't program it. Period. And what on Earth is it about, anyway? Scaramouche? Galileo? And all that 'Ismillah' business. 'Ishmillah'? - Bismillah. - Oh, aye. Bismillah. What's it about, anyway? Bloody Bismillah? - True poetry is for the listener. - It ruins the mystery if everything's explained. - Seldom ruins sales. Three minutes is the standard. John. - Yeah, we need radio. Format is three minutes. I have to agree with Ray. I actually think the single's Love of My Life. - No. - OK, how about John's song, You're My Best Friend? You know? 'Ooh, you make me live.' It's catchy, stronger. - What about I'm in Love with My Car? - You're joking! - Oh, Jesus. - I love it. Well, that's the kind of song teenagers can crank up the volume in their car and bang their heads to. Bohemian Rhapsody will never be that song. - It's a band decision. Bohemian Rhapsody. That's it. - You're My Best Friend. And it's my money. - Bo-Rap. Period. - Or we walk. - MacArthur Park was 7 minutes long. It was a hit. - Look, I'm not arguing Bohemian whatever's musicianship. - ...Rhapsody. - But there's no way in hell the station will play a 6-minute quasi-operatic dirge comprised of nonsense words! Bismillah? Bullshit! I paid for this record, so I say what goes! - Have we no legal recourse on this? - Ray. You did Dark Side of the Moon, didn't you? - I did. - Yeah, I absolutely love that record. Legally, no. No, he's got all your balls in a vice. It's a different matter in the court of public opinion, of course. Ray Foster's a giant name in the music industry, but to the average person... Say the name Queen, on the other hand. Ears prick up. - We're going with You're My Best Friend. Done. - No. We know what we have, even if you don't. It's called Bohemian Rhapsody. You will forever be known as the man who lost Queen. - Temperamental artists, eh? They're well aware they're tied to a contract, but who knows what goes on inside the inscrutable mind of the recording artist? - Mark these words. If they're not careful, by the end of the year, no one will know the name Queen. Christ! - You can take that out of our royalties! - Twat! - Wanker! - You can shove your gold disks! You made a mistake, Foster! - Arsehole! - You'll never have a gold disk, you medium talent! And to think I worked with Hendrix. - In the studio today, singer Frederick Mercury! So what have you got today for us? Have you got a little taste of the new record? - I'm really not supposed to. - Oh, forbidden fruit? Don't tempt me! - 'I'm in Love with My Car!' - Other side. - 'Bohemian Rhapsody.' - I didn't know Freddie knew Kenny so well. - The BBC won't play it. - Nor did I. - In fact, no one will play it on the radio, so EMI won't release it. - What's wrong with this song? - Nothing's wrong with it at all. Except that it's six minutes long. - Six minutes? - You'd have to be mad to play it. - You'd have to be bonkers. - I positively forbid it. - Let's hear it. Ladies and ladies, a Capital Radio exclusive, for the first time ever, Bohemian Rhapsody! # Is this the real life? # Is this just fantasy? # Caught in a landslide. # No escape from reality. # Open your eyes, # look up to the skies and see...# - # So you think you can stone me and spit in my eye? # So you think you can love me and leave me to die? # Oh, baby! # Can't do this to me, baby. # Just gotta get out. # Just gotta get right outta here. # Yeah. # - How much do they love him? Can't get enough. - # Nothing really matters. - # Anyone can see. - # Nothing really matters. - (CHEERING) - # Nothing really matters... # to me. (CHEERING, WHISTLING) # Any way the wind blows. # (GONG CRASHES) (CHEERING, APPLAUSE) * (QUEEN'S 'NOW I'M HERE') # Look around, around, around, around. # But you won't see me. # Now I'm here. # Now I'm here. # I'm just a... (FRANTIC DRUM SOLO) # Just a new man! # Yes, you made me live again... # - Tom, Jerry, can you hear me? - Freddie, when do I get to see you? - I'll be home soon, darling. Will you put Romeo on the phone so I can tell him I miss him? - Do you miss me? - What a stupid question. Of course I do. - WHISPERS: I love you. - Good night. - Morning, boss. (FAINT CROONER MUSIC PLAYS) - Clean this mess up and get rid of your friend. - (CLICKS FINGERS) Get dressed. (RAUCOUS CHEERING) - According to Brian, it was the largest paying audience in history. The whole night, I didn't know if they understood a thing I was saying. And then... - CROWD SINGS: # Love of my life, you've hurt me. # You've broken my heart # And now you leave me # Love of my life, can't you see? # Bring it back, bring it back # Don't take it away from me # - They're all singing. Thousands of them. All singing to you. Because it's true. - Freddie, what's wrong? - TV: # Love of my life, don't leave me. # You've stolen my love # And now desert me... # - Something's been wrong for a while now. QUIETLY: Say it. Say it. - I've been thinking about it a lot. I think I'm bisexual. - Freddie, you're gay. EMOTIONALLY: I've known for a while now. I just didn't want to admit it. It's funny, really. This is what I always settle for. 'I love you, but...' 'I love you, Mary, but I need space.' 'I love you, Mary, but I've met someone else.' And now, 'I love you, but I'm...' And this is the hardest, because it's not even your fault. - No, don't take it off. Don't take it off. You promised me you'd never take it off. - What do you want from me? - Almost everything. I want you in my life. - Why? - We believe in each other. And that's everything. For us. # Love of my life, love of my life... # - Your life is going to be very difficult. (CHEERING ON TV) (DOOR CLOSES) - What do you think? - Gay-er? - Not this, darling. The house. Isn't it amazing? Mary's already moved in next door, so she can visit the cats and me. - Uh-huh. - Each cat will have his own room. Delilah's by the kitchen. Miko's next door. Tiffany, Oscar, Romeo, all upstairs. Lilly's room is even larger than this one! Spoilt thing. - Well, I'm not sure the echo is quite pronounced enough (!) - # Eh-oh! # Oh, I knew you'd appreciate it. Stay for dinner. Anything you fancy. - I can't. Wife, kids, you know. - Of course. Well, come on. We'll eat off the floor. It's clean enough. - Another time, Fred. (OPERATIC ARIA MUSIC PLAYS) - Hello? - Mary. - Hi. - Hello, my love. - Hi. - I need you to do something for me. But you can't ask any questions. - Freddie, what are you doing this time? - No, I just told you you can't ask any questions. (CHUCKLES) - Right. - I want you to go to your bedroom window. Look out of it. (CHUCKLES) Do you see me? - Yes, I do see you. - Now, you do the same. Oh. (CHUCKLES) Keep yours on. - Come have a drink. - Now? - Right now. - It's late, Freddie. - Come on. Please. Do you have something to drink? - I suppose. - Go get it. Pour yourself something. Pour yourself a drink, darling. Do you have it? - Yes. - Cheers. - Cheers. - To you, my love. - To you, Freddie. - Good night. - Good night. - Hello? - Paul. - Freddie? - Sweetheart, I want to throw a party. - OK. Who do you want to invite? - People. I want you to shake the freak tree and invite anyone who plops to the ground. Dwarves and giants. Magicians, Zulu tribesmen, contortionists, fire-eaters, and priests. We're going to need to confess. (QUEEN'S 'CRAZY LITTLE THING CALLED LOVE') (CHEERING) Fill me up, will you, Trixie? - Marvellous, Fred! You've outdone yourself! - Thank you, John. I'm so glad you love it! Mmm. They say money can't buy happiness, darlings! But it does allow you to give it away! - I see you and Paul are getting along quite well. - He's Trixie now, cos he's always up to something. - So, tell me, Rog, what's the sexiest part of a car? (INDISTINCT CHATTER) - Ah! - Well, well, well! - Ah, your majesty! - No, I'm not her majesty! We're her majesty, darlings! Oh, whoa! - Cheers! - Cheers! - Cheers! - Thank you, my loves! Rog. Where's Mary? - It's... It's not exactly her scene, is it, Freddie? - Hmm. Fabulous, isn't it? - If you say so. You're starting to look like each other. - What's wrong with that, Brian? - You're supposed to be in a rock band, Freddie. - Not the Village People. - (CHUCKLES) You might want to think about cutting your hair one day. - Never. I was born like this. - (LAUGHTER) (RICK JAMES' 'SUPER FREAK' PLAYS) - Come on! Let's dance! - Yes! - I don't dance, Freddie. - I need a few more of these for that. - It's my party, and I demand you dance! - We should go. - By royal decree! - We're gonna go, actually. - Oh, God! You're dull. If you were any more dull, you'd be Deacy. - What are you complaining about? You've got your little pet. - I have. And he's loyal. Loyalty's so important. Don't you think, Dominique? - Careful, Fred. Let's go. - Where you going? - Home. - Just a joke. - Freddie, sometimes you're a total prick. - Forget them. Come on! Your guests are waiting. They all want a little Mercury in their cup. Come on. - All right! My darlings,... the time has finally come... to get absolutely shit-faced! (CHEERING) - # She's a super freak, super freak. She's super freaky # - Whoo! Senor, where's my...? Senor, where's my...? * (GRUNTS) (CROCKERY CLATTERS) (PLAYS CHORDS) (SERVER GRUNTS) - You've got a set of balls. - (SCOFFS) Go fetch me a drink and find out. - I may work for you tonight, but put your hands on me again, and I'll thump you. Got it? - STAMMERS: I'm terribly sorry. I didn't mean to offend you. I'm sorry. I won't do that again, all right? Let me` Let me get you a beer. - I wouldn't mind a beer. - Can you just tell me where we keep them? (CHUCKLES) You're very handsome. I love a man in uniform. - So do I. - So, all your friends have left you alone. - They're not my friends. Not really. Just distraction. - From what? - The in-between moments, I suppose. I find them intolerable. All of the... darkness you thought you'd left behind comes creeping back in. - I know what you mean. - Really? What is it that you do with them? Spend them with real friends. You look like you could use a friend. - I like you. - I like you too, Freddie. Come and find me when you decide you like yourself. - Can I have your name at least? - It's Jim Hutton. - Goodnight, Jim. - Goodnight, Freddie. Or should I say good morning? - DOMINIQUE: This one is for me. This one. - Didn't you say we were going to see him? - I've got an hour left. - Wait. What about this one? - No, I think we'll still make that. - It's a good size. - Screw him. - (CHATTER CONTINUES) - Everyone up on the drum risers. Up on the drum risers. - Come on! - Thank you, Chrissie. Showing some enthusiasm. - Wives and everyone, Brian? - Me? - Yes! Come on, John. Everyone. - Let's go. - I'm not waiting any longer. Get up. - Bass? - No, you don't need it. Get up. - Come on, Rog, take your time. - ROGER: All right. What's this about? - You remember our last concert? The crowd were singing our songs back to us. I mean, it was deafening, but it was wonderful. They're becoming a part of our show. I want to encourage that, so... I've got an idea to involve them a little bit more. Let's start with this. (STAMPS FOOT RHYTHMICALLY) Stamp to this beat. (CONTINUES STAMPING) - Genius. - Thank you, John. Come on. - (ALL STAMP ALONG) - Good. Now, I want you to clap on the third beat. - (ALL STOMP AND CLAP) - (WOMEN LAUGH) - Don't speed up. - Rog, keep that time. (PLAYS NOTE ON PIANO) No Prenter? It's unusual to see you without your clone. - It's unusual seeing you be so bitchy. - It's usually me. - Ah, you kept the time, Rog. Good. - What's going on? - You'd know if you were on time. - I'm a performer, darling, not a Swiss train conductor. - Sorry I'm late. - Again. - All right. Now, will you please tell me why you're not playing any instruments? - I wanna give the audience a song that they can perform. All right? Let them be part of the band. So, what can they do? (RESUMES RHYTHMIC STAMPING AND CLAPPING) (ALL JOIN IN) Imagine... thousands of people... doing this in unison. Huh? Well? - What's the lyric? (CROWD CHEERING) (RHYTHMIC STAMPING AND CLAPPING) # Buddy, you're a boy, make a big noise playing in the street, gonna be a big man some day. # You got mud on your face, you big disgrace, kickin' your can all over the place. # Singin' we will, we will rock you. - # We will, we will rock you. - CROWD: # We will, we will rock you. # Buddy, you're a young man, hard man, shouting in the street. Gonna take on the world some day. # You got blood on your face, you big disgrace, wavin' your banner all over the place. # We will, we will rock you. - # We will, we will rock you. - # Singin' we will, we will rock you. - # We will, we will rock you. - Yeah! # Buddy, you're an old man, poor man, pleading with your eyes. Gonna get you some peace someday. # You got mud on your face, big disgrace. Somebody better put you back into your place. Do it! - # We will, we will rock you. - # Rock you. - # We will, we will rock you. - # Rock you. Yeah! - (PLAYS GUITAR SOLO) - (CHEERING) (MUSIC ENDS, CROWD CHEERS) - All right! I feel like taking a bite out of the Big Apple. - (CHEERING) - Who wants to take a bite out of me? - (CROWD SCREAMS) - All right. Play with me now. VOCALISES: Eh-oh! - CROWD VOCALISES: Eh-oh! - Eh-oh! - CROWD: Eh-oh! (SYNTH POP MUSIC PLAYS) - Never seen anyone interact with a crowd like that. - Bigger than any band, don't you think? I mean, Queen... How long can that last? - Did he say something to you? - Not explicitly. But we've had some interest from CBS Records... about a solo deal. (PEOPLE CHATTER) (PINBALL MACHINE BEEPS) - Well, that's a big number. - That's a Freddie-size number. You should be the one to propose it. - Hi, guys. How's it going? - Good. - Everything's great. - John, another drink? - Uh, no, I'm fine. - BARTENDER: Here's the Coke. Coming right up. - Freddie. (GIGGLES) - Oh, there you are. - Oh God! Freddie! Put me down! - (CHUCKLES) - You were brilliant. - Ah, that's only because I knew you were watching. - I've missed you. - We have so much to catch up on. Oh, thank you. - This is my boyfriend, David. David, this is Freddie. - Magnificent show. - Thank you. It's so kind of you. I appreciate it. Thank you so much. Where's your ring? - I just didn't want to travel with something so valuable. - Freddie, there are some people here for you to see. You promised you'd say hello. - Oh, did I? - Mm-hm. - We should go. Will I see you soon? - (CHUCKLES) Yes, of course. Of course. Mwah! It's a pleasure to meet you, David. - And you. And well done again. - And you. - Bye. - Thank you for coming such a long way. - Bye. (PEOPLE CHATTER) (VEHICLE BEEPS, SIREN WAILS) - Then you've got the MTV interview and the plane to Houston for the special. Back here on Friday. (CLEARS THROAT) Listen to me now. Do you know who sold 4% of all the records purchased last year worldwide? Michael Jackson. Not the Jackson 5. Michael Jackson. And I think you could do even better. In fact, I've had an offer from CBS Records. It's a lot of money for you, Fred, and I think you should consider it. - Are you asking me to break up the band? - I'm just pointing out what awaits you if you go solo. An end to your frustrations. - My frustrations? - Paul? - I don't know what you're talking about, John. - Perhaps I misunderstood. - (PRESSES BUTTON) - DRIVER: Yes, sir. - Pull over. Stop the car, pull over. (TYRES SCREECH) - Get out. Out now! - What the hell? - Get out of this car. You're fired. - What're you talking about, 'fired'? - I said get out. - Freddie, you are high! - I said get out! - What are you talking about? - Out! Out or I'll kill you! Get out, you treacherous piss flap. - You're not thinking clearly. - Get your ass out of my car now. Get out! Out! Get your ass out of my car. Get out! - You're firing the wrong snake, Freddie. You'll regret it. - Get your ass out of here! (CARS HONK) - (SLAMS DOOR) Drive! (CARS HONK) - MAN: Hey! What the hell? Move! Hey, watch it! I'll run your ass over. (CAR HONKS) - Move! - (EXHALES) (SIGHS) - Did you know anything about this? - I warned him against it. Pure greed. - Tried to break up my family. - We can manage the band. We don't need him. - What do you know about what I need? - I know what it's like... not to belong. A queer Catholic boy from Belfast. You know,... I think my father would rather see me dead... than let me be who I am. I'm gonna take care of you now, Freddie. If you'll let me. * - (COMMENTATOR SPEAKS INDISTINCTLY ON TV, CROWD CHEERS) - What are you reading? - Just the cricket. (BALL BOUNCES ON TABLE) - We're a rock and roll band. We don't do disco. - It's not disco. - Then what is it? It's Queen. - FREDDIE: So sorry, my darlings! Lost all track! - You fired Reid without consulting us. You don't make decisions for the band. - Hey. - Well, I'm terribly sorry, dear. It's done. Besides, Miami will manage us. - (CHUCKLES NERVOUSLY) - Won't you, darling? - Um, I'll think about it. - No. - Are you high again? - Well done, Columbo. - You need to slow down, Fred. - Oh, don't be such a bore. I'm here, aren't I? - Are you? - I don't care if you're shit-faced. As long as you can sing. - No, John, I don't wanna play it. - Then I'm all for it. - (CHUCKLES SOFTLY) - What's that supposed to mean? - I'm tired of the bloody anthems. I want the energy in the clubs. The bodies. I want to make people move. - You mean disco? - Why not? - Do you mind pissing off? This is a band discussion. - Drum loops? Synthesizers? - If you say so. - It's not us! - Us? - It's not Queen! - Queen is whatever I say it is! - (SCOFFS) Well, you can play your own bloody drums, then. - Fred. - OK, let's see how good a boxer you really are! - Roger, take it easy! Take it easy. - (PLAYS BASS RIFF) - Take it easy. All right, Muhammad Ali. - (PLAYS RIFF FROM 'ANOTHER ONE BITES THE DUST') - That's... That's-That's quite a cool riff, actually. - Hmm. - You wrote that? That's really good. - Yes, it will be... if you all can just shut up and play. - He started it. - Oh, shut up! - (RESUMES PLAYING RIFF FROM 'ANOTHER ONE BITES THE DUST') Steve walks warily down the street with the brim pulled way down low. Ain't no sound but the sound of his feet. Machine guns ready to go. Are you ready? Are you ready for this? Are you hanging on the edge of your seat? Out of the doorway the bullets rip... - OK, I'll do it. - ...to the sound of the beat. - I'll do it. ('ANOTHER ONE BITES THE DUST' INTRO PLAYS) - Oh, just improvise. Just give it whatever you want. - FREDDIE: I can do that. Let's go! # Steve walks warily down the street with the brim pulled way down low. # Ain't no sound but the sound of his feet. Machine guns ready to go. # Are you ready? Hey. Are you ready for this? Are you hanging on the edge of your seat? # Out of the doorway the bullets rip... - # Rip. - # ...to the sound of the beat, yeah. # Another one bites the dust. # Another one bites the dust. # And another one gone, and another one gone. # Another one bites the dust, yeah. - That's a good idea. - # Hey, I'm gonna get you too. - And then you double it, on top. - # Another one bites the dust. # How do you think I'm gonna get along without you when you're gone? # You took me for everything that I had and kicked me out on my own. # Are you happy? Are you satisfied? How long can you stand the heat? # Out of the doorway the bullets rip to the sound of the beat. Look out! # (PANTS) - REPORTERS: Freddie! Freddie! - Freddie! Freddie, as the leader of Queen... as the leader of Queen, do you feel responsible for the success of the band? - I'm not the leader of Queen; I'm only the lead singer. - (REPORTERS CLAMOUR) - A question for Freddie. Do you ever doubt your talent? - No, that's a stupid question. - Take it easy, Fred. - What's next? - Freddie, uh, your teeth... Why don't you get your teeth fixed? - I live in Britain. I don't want to stand out. - (LAUGHTER) - Next` - Why don't you have your manners fixed? - That's an asshole question to ask anybody. - That's an asshole question. In your song Life Is Real, what do you mean by the line 'love is a roulette wheel'? Are you implying that the more partners you have, the more chances you have of... contracting something? - What? I don't know, I haven't figured out love yet. - But it implies something else, Freddie. - That might be a better question for Rog. - Watch it. - (REPORTERS CLAMOUR) - Freddie, concerning your private life... There's lots of pictures of you in the tabloids looking drunk or ill. - Which one is it ` ill or drunk? - I had a cold last week, if anyone cares. (CAMERA SHUTTER CLICKS) - As much as we'd love to answer questions about colds, I'd like to speak about the album. If anyone's got any questions about the music? - ALL: Freddie! Freddie! Freddie! Freddie! - Freddie, your parents ` they're conservative Zoroastrians. I wonder, what do they make of your public persona? - Is that music`? - My parents died in a fiery wreck. I happen to know that's not true, is it? I just wanted to know whether they were proud of you. - Are your parents proud of you? Is this what they hoped for? - I hope that they are. - I surely don't think so. - Anyone wanna talk about the album? - ALL: Freddie! Freddie! Freddie! - Could you answer a few questions, please? - This better be good. - (REPORTERS CLAMOUR) - MAN: Shut up! - Freddie, could you tell us about the rumours concerning your sexuality? - What about the rumours concerning your lack of sexuality? - I'm just a musical prostitute, my dear. (CAMERA SHUTTER CLICKS) - Can you answer the question? - What's your name, dear? - Shelley Stern. - Shelley. - Yes. - That thing between your legs, does it bite? - Hah! - (PEOPLE EXCLAIM) - Could you answer the question, please? - We're here as a courtesy. - You know, there's four of us up here. - What are you afraid of, Freddie? - STAMMERS: What do you want? What is the truth? - Can you be honest for once? ECHOES: Honest for once. - Why are you lying about your parents, Freddie? - I'm not lying about anything. I just` I'm` I'm` - Your fans deserve to know the truth, Freddie. - Can you answer the question, please? - STAMMERS: This is my business. - No, you're a public figure. - What are you afraid of, Freddie? - Your parents? - Can you tell us about... - ...your sexuality? - What? Why-Why... - Can you just be honest? - ...contracted something. - Your fans deserve to know the truth. - (CLAMOURING CONTINUES) - Our readers want to know. - What do your readers want to know? They want to know what? (LINE RINGS) (LINE CONTINUES RINGING) (PHONE CLATTERS) - (PLAYS NOTES) # But life still goes on. # I can't get used to living without, living without, living without you by my side. # I don't want to live alone. - (INDISTINCT CHATTER) - # Hey. God knows. # Got to make it on my own. # So, baby, can't you see? # I've got to break free. # - Can I get up now? What is happening? - (CHATTER, LAUGHTER) - BRIAN: I wanna be in it. - JOHN: Get off me. (KNOCK AT DOOR) - Freddie, you in there? (KNOCKS) Freddie? They're here. We can't put this off any longer. Freddie? MTV banned our video. The youth of America. We helped give birth to MTV. It's America. They're puritans in public, perverts in private. I'm never touring in the US again. (CHUCKLES DRYLY) And I'm the one being blamed for it. Not you, dear, whose idea, I believe, it was to dress up in drag. And not you. Not even you, who wrote the bloody thing. No. Crazy, cross-dressing Freddie. Freddie the freak. Freddie the fag. (SIGHS) I'm tired of touring. Aren't you? Album, tour, album, tour. I want to do something different. - We're a band. That's what bands do. Album, tour, album, tour. - Well, I need a break. - I'm sick of it. - What are you saying, Freddie? - I've signed a deal with CBS Records. - ROGER: You've done what? - Without telling us? - What kind of deal? - Look, I'm not saying we won't record or ever tour again. Queen will go on. But I need to do something different. Do you know what I mean? I-I need to grow. W-W-What's the song? 'Fly away'? - 'Spread my wings and fly away.' - 'Spread my wings and fly away.' - A solo album? - Two, actually. Back to back. - Another word out of you, and I'll throw you out the bloody window. - But that's years, Freddie. I mean, that'll take years. - Ye of little faith. - I don't believe this. How much? What did they pay you? - I wanna know how much they paid you! $4 million! - (SCOFFS) - That's more than any Queen deal. - Look, the routine is killing us. I mean, you must all want a break from all the arguments. I mean, whose song gets on the album, whose song's the single, who wrote what, who gets a bigger slice of the royalties, what's on the B-side, all of it. You must need a break. - Freddie, we're a family. - No, we're not! We're not a family! You've got families, children, wives. What have I got? - You've got $4 million. Perhaps you can buy yourself a family. - I won't compromise my vision any longer. - (SIGHS) - ROGER: Compromise? Are you joking? You were working at Heathrow before we gave you a chance. - And without me, you'd be a dentist, drumming 12/8-time blues at the weekend at the Crown and Anchor. And you. Well, you would be Dr Brian May, author of a fascinating dissertation on the cosmos that no one ever reads. And Deacy. For the life of me, nothing comes to mind. - I studied electrical engineering. Does that meet your standard? - Perfect. - You just killed Queen. - Oh, give her a kiss one day. She might wake up. - You need us, Freddie. More than you know. - I don't need anyone. (ORCHESTRA TUNING) (VOICEMAIL BEEPS) MAN ON RECORDING: Hi, Jasmine. It's your brother here. I'm sending a little money home to help that dream of yours become a reality. (PLAYS COMPLEX SWEEPING SOLO) VOICEOVER: When you send money, you send more than money. * (PHONE RINGS) - Hello? - Paul. Can I speak to Freddie? - Oh, Mary. No, he can't talk right now. He's working day and night, constantly. - Will you make sure to tell him that I called? - Don't worry. He's in safe hands. I will certainly tell him you called. Cheers. - Freddie, it's really great. - It's shit! - Just leave it. - Yeah, hang on one second. Give it more treble. - Where is he? Is he there? I wanna speak to him. - He is working himself to the bone. I'm blue in the face trying to get him to take a break. - Paul, listen to me. It's one performance for a good cause. It's a televised concert for the famine in Ethiopia. They're gonna have simultaneous performances in Philadelphia and London. There's gonna be a billion people watching. Queen should be part of it. - He's just been really focused. But I'll be sure to pass it on. - Sure you will. (INDISTINCT CHATTER) (COUGHING) - (COUGHS) (COUGHS, SNIFFLES) - Hi. - Hi. Come in, come in. Why did you come all this way? - I just haven't heard from you in so long, and I phoned and phoned, and then... last night I just had this terrible dream that something bad had happened. - No, no. I've been working, that's all. - Freddie, you're burning the candle at both ends. - Yes, but the glow is so divine. Being human is a condition that requires a little anaesthesia. - I miss you. - I miss you. I miss you so much. Listen, but I have to finish the second album. I need you. Stay. Stay here with me. Just you and me. I need the love of my life. - Freddie,... what about Queen? Jim told me he's been trying to contact you about Live Aid, and you won't take his calls. - What is Live Aid? - You haven't heard? Freddie, it's the biggest concert there's ever been or ever will be. It's for the famine in Africa. - Well, perhaps Paul thought it wasn't a good idea. A distraction from my work. That's what's important, that I finish this album. Stay with me, darling, and I'll be all right. - Freddie, I can't stay with you. - Of course you can. I need you, Mary. - Freddie, I'm pregnant. - How could you? - QUIETLY: How could I? Freddie, this has nothing to do with you. - Come on. Let's get in. I bought some nibbles. Freddie! Sorry we're late. Mary. What a pleasant surprise. Hans. Everyone, come in. Milan, make our guests comfortable. I wish I knew you were coming to stay. I'd have scrubbed the place. - Actually, I'm not staying. - Wait. Mary, wait. Don't go. You told me you had a dream. What was it? - I was trying to talk to you, but it was like talking to my father. You needed to tell me something. But you couldn't say it. Because you had no voice. - Freddie, come and say hello to our new guests. They're dying to meet you. He'll be one second. - Mary! I'm happy for you, Mary. Truly, I am. It's just... I'm frightened. - Freddie, you don't need to be. Because no matter what, you are loved. By me, by Brian, Deacy, Roger. Your family. It's enough. And these people... They don't care about you. Paul doesn't care about you. You don't belong here, Freddie. Come home. - Home. - Freddie! What are you doing? You'll catch your death. - Why didn't you tell me about Live Aid? - The Africa charity gig? It'll be an embarrassment. I didn't wanna waste your time. - You should have told me. - Of course I did. You forgot. You're always forgetting things. Come in now and have a drink. - You're out. - What do you mean? - I want you out of my life. - Cos I'm the only one left, you're blaming me for everything? - I blame myself. - So I'm out? Just like that? After everything we've been through? Just think of the photos I have. I know who you are, Freddie Mercury. - You know when you know you've gone rotten? Really rotten? Fruit flies. Dirty little fruit flies. Coming to feast on what's left. Well, there isn't much left for you to feast on any more. So fly off. Do what you like with your photographs and your stories. But promise me one thing. That I never see your face again. Ever. - I didn't mean it. (QUEEN'S 'UNDER PRESSURE') - I'm sorry! Freddie, come back! I'll make it better. TV: But, Peter, you might be right. I'm not even hurt by the fact that he's let me go as a friend. But you can only be there so much for a person. - And so, Mr Prenter, all these stories about Freddie Mercury and his lovers, that there were so many. - Yeah? - Is it really true? - Yes, it is. His lovers were countless. Genuinely countless. Uh... All these wild, drug-fuelled parties where he'd find another lover every night, and a routine he couldn't get out of. - So you really did see behind the mask? - I knew Freddie when he did Bohemian Rhapsody. And the Freddie we have now, he doesn't have the same passion about music. (PHONE RINGS) - Hello? Hello? - Miami? - Freddie? How are you? - There was this Africa concert... that wants Queen to play. Is that still...? - You mean Live Aid? They've announced all the bands, Freddie. It's too late. - I need... I need to reconnect with the mothership. - Freddie, they don't want anything to do with you. They're still very upset. - Maybe if you ask them, they would meet me. Tell them I want to talk. Just talk. We're family. You know, family... have fights... all the time. - I can call. - Thank you. Jim. - ...somebody who probably knows Freddie Mercury better than anybody else, how would you describe him inside as a person? - For me, Freddie will always be this frightened little Pakkie boy who's afraid to be alone. - I hope he sees this and realizes what he has lost in you. - I hope he does too. - A close and important friend. - Where are they? - They're late. (KNOCK ON DOOR) - Hi, guys. - Jim. - If anybody wants any tea, coffee, bladed weapons, just ask. So... who wants to go first? - I'll start. I've been hideous. I know that, and... I deserve your fury. I've been conceited, selfish. Well, an asshole, basically. - Strong beginning. - Look, I'm happy to strip off my shirt and flagellate myself before you. Or rather I could ask you a simple question. - I'm good with the flagellation. - What's it gonna take for you all to forgive me? - Is that what you want, Freddie? I forgive you. Is that it? Can we go now? - No. I went to Munich. I hired a bunch of guys. I told them exactly what I wanted them to do, and the problem was... they did it. No pushback from Roger. None of your rewrites. None of his funny looks. I need you. And you need me. Let's face it. We're not bad for four aging queens. So, um, go ahead. Name your terms. - Could you give us a moment, please, Fred? - Why'd you do that? - I just felt like it. - They'll be all right. They just need a bit of time. - What if I don't have time? - What do you mean, Fred? (DOOR OPENS) - You can come back in now, if you'd like. - (SNIFFS, CLEARS THROAT) We decided. What did we decide? - From now on, every song ` no matter who wrote it ` music, lyrics, it's by Queen. Not one of us ` just Queen. All the money, all the credits, split four ways evenly. - Done. - We have a problem with the people around you. - Paul is out. I fired him. - On what pretext? - Villainy. What else? - Bob Geldof. I called to convince him to squeeze you guys into the lineup for the Live Aid concert, but he wants an answer now. You have to make a decision. Every ticket's already sold. 100,000 people at Wembley. 100,000 people at JFK Stadium in Philadelphia. A global TV audience around the world of 150 countries, 13 satellites. The Olympics only had three. - We haven't played together in years. It's kinda suicide to play again for the first time in front of millions. - Try over 1.5 billion. 'Who are these four dinosaurs?' 'Where's Madonna?' - It's a 20-minute set. Everyone gets the same. Jagger, Bowie, Elton, McCartney, The Who, Led Zeppelin, Phil Collins, REO Speedwagon, Bob Dylan. - Certainly good company. - Anybody who is anybody is doing this concert. - Look. All I know is that if we wake up the day after this concert, and we didn't do our part, we're going to regret it till the day we die. Please. * - TV: Every day, in San Francisco, two more men hear the grim news ` 'You have AIDS. There's no cure.' Since doctors in France and America isolated the virus in 1983, research has proceeded at a frantic pace. The method used by the virus to destroy the body's immune system has been discovered, but a cure still seems many years away. A major breakthrough has been a new blood test that should ensure that in future nobody contracts AIDS from a blood transfusion. But it's only just been approved for use. - # What is this thing that builds our dreams, # yet slips away from us? # Who wants to live forever? # Who wants to live forever? # There's no chance for us. # It's all decided for us. # This world has only one # sweet moment set aside for us. # - Do you understand? The way we go from here is that treatments are available... (SOMBRE MUSIC) - # Eh-oh! # - Eh-oh. ('HAMMER TO FALL' PLAYS) # Convinced our voices can't be heard. # We just wanna scream it louder and louder and louder. # What the hell we fighting for? # Yeah, just surrender, and it won't hurt at all. # - Yep. - Let's call it. - Yeah? - Yeah, yeah. - Sorry. I sound like shit. You all are lovely. You sound good. Been a while. My throat feels like a vulture's crotch. - We still got a week. - We'll get there. - Yeah, we're in a good place, Fred. You just need a bit of rest, that's all. - Yeah. - Get a drink, Rog? - Yeah, there's a nice little pub down the road, actually. - Can I come? - We're just an exclusive... - Before you leave... Could I have a second? - Yeah. What's up? - I've got it. - Got what? - AIDS. I wanted you to hear it from me. - Fred, I'm` I'm so sorry. - Brian, stop. Don't. For right now, it's between us. All right? Just us. So, please, if any of you... fuss about it or frown about it, or worst of all, if you bore me with your sympathy,... that's just seconds wasted. Seconds that could be used making music, which is all I want to do with the time I have left. I don't have time to be their victim, their AIDS poster boy, their cautionary tale. No, I decide who I am. I'm going to be what I was born to be. A performer who gives the people what they want. Touch of the heavens. Freddie fucking Mercury. - You're a legend, Fred. - You're bloody right I am. We're all legends. But you're right, I am a legend. Now, you give me a chance to get my bitchy little vocal cords in order, and we'll go and punch a hole through the roof of that stadium. - Actually, Wembley doesn't have a roof. - (CHUCKLING) - All right. - No, he's right. It doesn't. - Then we'll punch a hole in the sky. Now, even though you're crying like three little girls, I still love you. All right, enough of this. All right. Drink? - Yes! - Or 10? (QUEEN'S 'SOMEBODY TO LOVE') - (VOCALISES) What are you looking at? You think you could do better? Everyone's a critic. - It's 12 noon in London. 7am in Philadelphia. And around the world, it's time for Live Aid. - (CHEERING) - If you have credit cards, you can phone up with the number you want to give. But you can also pledge cash, and it's very important. There is not enough money coming in, and all these people are not playing for the good of their health. They're playing for the good of other people's health. So get your money out now! And phone up and give us the money. You've got plenty of it, or if you got none of it, get it to people who are dying of starvation. We want to get a million pounds out of this country, on the telephone, before 10 o'clock tonight. # Can anybody find meee... # somebody to... # lo-o-o-ove? # - Do you have any idea how many Jim Huttons there are in London? - Well, I didn't want to make it too easy for you. How have you been, Freddie? - I've been a bit lost, to be honest. You were right. I could do with a friend. Would you like to have tea with me? - Tea? - So, Jim, how do you know Freddie? - Do you work together? - Jim's my friend. - Wonderful to have friends. - Mithai. Jer made it herself. - Thank you. - Freddie? - Your favourite, Freddie. - We have to go, Mum. - But you just got here, beta. - What do you mean, 'go'? - We've gotta get to Wembley. Would you believe it? Jim's never been to a rock concert. - That's true. - Queen are playing at Live Aid. - We're all doing our bit for the starving children in Africa, and nobody's taking any money. Good thoughts, good words, good deeds. Just like you taught me, Papa. - Love you, beta. - Bye, Kash. Love you too, Mama. In fact,... I'll blow you a kiss when I'm on stage. - Kashi,... put on the telly. (BIRDS SQUAWKING, BONGO DRUMMING) Excuse me, where am I? You're lost in the procrastination place. Yeah, right. That makes sense. MAN: Slap yourself out of it. Whoo! (ALL CHANT) - The planet doesn't know which stuff you're doing just because you can't say no. So start at the bottom of your list and cross a few things off. * (ROCK MUSIC PLAYS) (KNOCK ON DOOR) - Hello, Mary! - Hi, Brian! We just came to wish you good luck. - Hello, my love. - Hi. - Mary, David, this is Jim. Jim, Mary and David. - It's nice to meet you. - Hi. - Hi. - I'll see you after. I don't think you're gonna be able to see anything from here. Join them. What do we think of David? - Nice chap. - I think he's gay. - (CHUCKLES) - (CHEERING) - We'll be on in about one minute. One, two. One, two. - That's almost us. - We ready? - Feel good? - So we have had a bit of a complaint about the noise. From a woman in Belgium. (LAUGHTER) (RAUCOUS CHEERING) - Anyway, it gives us enormous pleasure to introduce the next combo, who are... Her Majesty ` Queen! (CHEERING) (INDISTINCT CHATTER) - Nothing. (CHEERING SWELLS) - (PLAYS PIANO) (CHEERING MUFFLED) (PLAYS 'BOHEMIAN RHAPSODY) (RAUCOUS CHEERING) # Mama # Just killed a man # Put a gun against his head # Pulled my trigger, now he's dead. # Mama # Life had just begun # But now I've gone and thrown it all away # Mama # Ooh, ooh, ooh, ooh # Didn't mean to make you cry # If I'm not back again this time tomorrow # Carry on, # carry on # As if nothing really matters # Too late # My time has come # Sends shivers down my spine # Body's aching all the time # Goodbye, everybody # I've got to go # Gotta leave you all behind and face the truth. # Mama # Ooh, ooh, ooh, ooh # I don't want to die # I sometimes wish I'd never been born at all. # (INSTRUMENTAL BREAK) (BAND PLAYS 'RADIO GA GA) # I'd sit alone # and watch your light # My only friend # through teenage nights # And everything # I had to know # I heard it on my radio # You gave them all # those old-time stars # Through wars of worlds # invaded by Mars # You made 'em laugh, # you made 'em cry # You made us feel like we could fly # So don't become some background noise # A backdrop for the girls and boys # Who just don't know # or just don't care # And just complain when you're not there # You had your time, you had the power # You've yet to have your finest hour # Radio # Everybody! ALL: # All we hear is # Radio ga ga # Radio goo goo # Radio ga ga # All we hear is # Radio ga ga # Radio goo goo # Radio ga ga # All we hear is # Radio ga ga # Radio blah blah # Radio, what's new? # Radio # Someone still loves you - # Loves... # You! (CHEERING) # Eh-oh! CROWD: # Eh-oh! - # Eh-oh! CROWD: # Eh-oh! - (VOCALISES) - (VOCALISES) - Eh-oh! - Eh-oh! - Eh-oh! - Eh-oh! - Eh-oh! - Eh-oh! - # Ehhhhh..... # Oh! - # Ehhhhh..... - # Oh. - Eh-oh! - Eh-oh! - Eh-oh! - Eh-oh! - (VOCALISES) - (VOCALISES) - De-do. - De-do. - De-do. - De-do. - All right. - All right! (CHEERING, APPLAUSE) - Hey, hey, hey, hey! Hammer to Fall! (BAND PLAYS 'HAMMER TO FALL') (PHONE RINGS) # Here we stand or here we fall # History don't care at all # Make the bed, # light the light # Lady Mercy won't be home tonight # You don't waste no time at all # Don't hear the bell but you answer the call # It comes to you as to us all # Yeah! # And it's time for the hammer to fall # Every night, # every day # A little piece of you is falling away # But lift your face # the Western way # Toe your line and play their game # Then it's time for the hammer to fall # Rich or poor or famous... # (PHONES RING, PEOPLE CHATTING) # Oh, no # Lock your door... # - Hello, Live Aid. - We just hit a million! - One million pounds! (CHEERING) # For you who grew up tall and proud # In the shadow of the mushroom cloud # Convinced our voices can't be heard # Just wanna scream it louder and louder and louder # What the hell we fighting for? # And it's time for the hammer to` Hammer to fall (INSTRUMENTAL BREAK) # Yeah # Yeah, yeah! One more time! # Waiting for the hammer to fall # Give it to me one more time! (BAND PLAYS 'WE ARE THE CHAMPIONS') # I've paid my dues # Time after time # I've done my sentence # But committed no crime # And bad mistakes # I've made a few # I've had my share of sand kicked in my face # But I've come through # We are the champions, my friends # And we'll keep on fighting till the end # We are the champions # We are the champions # No time for losers # Cos we are the champions # Of the world # I've taken my bows # And my curtain calls # You brought me fame and fortune # And everything that goes with it # I thank you all # But it's been no bed of roses # No pleasure cruise # I consider it a challenge before the whole human race # And I ain't gonna lose # We are the champions, my friends # And we'll keep on fighting till the end # We are the champions # We are the champions # No time for losers # Cos we are the champions # We are the champions, my friends # And we'll keep on fighting till the end # We are the champions # We are the champions # No time for losers # Cos we are the champions # Of the world # (CHEERING) So long and goodbye! We love you! # Tonight... # I'm gonna have myself # a real good time # I feel ali-i-i-ve # And the world, # I'll turn it inside out, yeah # I'm floating around # in ecstasy. - # So... - # Don't stop me now # Don't stop me. # Cos I'm having a good time, having a good time. # I'm a shooting star leaping through the sky # Like a tiger defying the laws of gravity. # I'm a racing car passing by # like Lady Godiva. # I'm gonna go, go, go. # There's no stopping me. # I'm burnin' through the sky, yeah, # 200 degrees # That's why they call me Mister Fahrenheit. # I'm travelling at the speed of light. # I wanna make a supersonic man out of you... # Captions by Able. Captions were made with the support of NZ On Air. www.able.co.nz Copyright Able 2021