"BOHEMIAN RHAPSODY" (2018)

BOHEMIAN)RHAPSODY)) ) Original)Screenplay) by) Anthony)McCarten)

) ) ) ) )

) ) ) ) ) ) THIRD)DRAFT) )Nov)4.)2015)

) ) ) ) For)GK)Films/)Queen)Films) Producer:)Graham)King) ) ) )

On a BLACK SCREEN -

CAPTION: IS THIS THE REAL LIFE?

- as we hear - the famous intro to Queen’s “WE WILL ROCK YOU” - BOOM-BOOM-CHA...BOOM-BOOM-CHA- both band and a huge stadium audience combining to beat out the anthemic rhythm...

FADE IN...

DAY

This SOUND-TRACK fades away, shifting into funereal SCORE (”GOLDEN BOY” by FREDDIE MERCURY) as - we look down through a series of opened doors, toward a distant BEDROOM DOOR. From within, a distraught voice cries out:

The DOOR then springs open - it’s JIM HUTTON (FREDDIE’s long-term partner and carer) running, heart-broken, through the upstairs rooms of Freddie’s mansion, finally stopping at the top of the stairs, as -

- the front door opens. It’s MARY AUSTIN (40) entering, breathless, with her own key. She looks up the stairs, at JIM, who is standing there, tearful, grief-stricken.

MARY catches her breath. Her face starts to crumple as JIM’s expression delivers the tragic news. MARY puts down her bags and climbs the stairs, stopping to steady herself, until she and JIM hug, hold hands, then move together toward the distant bedroom and a big round bed lit from above by a column of daylight. On the bed, distantly, we can just make out a still FIGURE over which JIM and MARY bend...

A gorgeous pageant of a party, in full flow -

The crowd hushes as FREDDIE passes through the crowd and sits at a grand piano and starts to play the intro of "It's A Beautiful Day"... He is joined at the piano by a masked female SOPRANO (Montserat Caballe?) Her unwavering, crystalline voice, as well as the beauty of the song, moves the masked guests. Song continues, over...

At the gates of “GARDEN LODGE” - votive candles burn, cards and wreathes and bouquets are laid by a large crowd of grieving fans who also -

- write messages of LOVE on every single BRICK of the lodge’s 15m-long 3m-high FRONT-WALL...

MONTAGE:

ARCHIVE FOOTAGE: of GRIEVING FANS around the world - TOKYO, MUNICH, MUMBAI, BARCELONA, NEW YORK - laying flowers and messages at makeshift SHRINES to FREDDIE...

A RINGING TELEPHONE.

CAPTION: LONDON, 1991

Enter BRIAN MAY (44). He crosses to the TELEPHONE...

(INTERCUT as NECESSARY with - )

...ROGER TAYLOR (42) holding a TELEPHONE in one hand, reads from the DAILY MIRROR...

Silence -

The grieving BRIAN and ROGER on a couch, face an arrogant MALE TV INTERVIEWER. We are live -

For ROGER and BRIAN, so full of emotion, the words don’t come easily...

CONTINUED: (2)

BRIAN and ROGER now start to become furious with this guy -

This comments stuns BRIAN and ROGER -

CONTINUED: (3)

Silence, and then -

BRIAN and ROGER get up and pull off their microphones -

BRIAN and ROGER walk out.

The year is now 2016...and in a dimly lit PRIVATE STUDIO...full of homely touches (furnishings, books, candles, and a telescope, etc) the CAMERA finds... BRIAN MAY (69), his back turned to camera, his curly tresses now GREY, wearing HEAD-PHONES (CANS), whilst playing his RED (”RED SPECIAL”) GUITAR. Only he can hear what he is playing...

ANGLE ON: ROGER TAYLOR (67), appearing in the doorway behind him...

But BRIAN can’t hear this...so ROGER throws a CUSHION. BRIAN turns, takes off his CANS...

When ROGER departs, BRIAN pulls his HEAD-PHONES back on, then walks to an AMPLIFIER, tinkering with the knobs...until something catches his eye...

In the doorway now stands a YOUNG MAN (early 20’s), with ROGER behind him. BRIAN pulls off the cans...

The BLOGGER holds out his CELL-PHONE to BRIAN - BRIAN looks at the PHONE, reading the EMAIL...

BRIAN passes the cell-phone to ROGER to read...

BRIAN looks to ROGER for his response -

CONTINUED: (2)

ROGER departs -

Silence.

The BLOGGER starts to go and then stops at the TELESCOPE, examining it. BRIAN notices and watches -

Indeed, the make “ORION” is clearly visible...

CONTINUED: (3)

The BLOGGER smiles, until BRIAN capitulates -

The BLOGGER begins to set up his TAPE RECORDER...

When BRIAN NODS...the BLOGGER smiles -

CONTINUED: (4)

But BRIAN smiles wistfully, shakes his head, and waves a finger -

The BLOGGER angles the TAPE-RECORDER MIC toward BRIAN...and BRIAN reluctantly sits...

The YOUNG BRIAN (23) and ROGER (21) walk down the halls, which are filled with ARTISTS plying their craft, sculpture, fashion, design. ROGER has two DRUM STICKS and drums them on whatever he passes, including the odd CUTE GIRL!

SMILE perform - onstage, “Doin’ All Right”.

BRIAN, ROGER, and BASSIST/SINGER TIM STAFFELS, in T-shirts and jeans, are entirely focused on playing their instruments - no stage presence whatsoever.

The small AUDIENCE - of about 20 people - is appreciative.

BRIAN and ROGER continue their walk through the art school.

ROGER, before a human cadaver, holds a circular saw and looks at the dotted line demarking the crown which he is meant to cut open. He starts up his circular saw -

Shot of the stars -

- BRIAN on-stage, breaks into a GUITAR SOLO -

ROGER and BRIAN continue their walk through ART SCHOOL...ROGER suddenly veering off down another corridor, toward the BATHROOM - BRIAN only belatedly works out where ROGER has gone by following the sound of DRUMMING.

ROGER and BRIAN are now singing “TUTTI FRUTTI” (a jazzy, slowed-down version, harmonizing beautifully with each other) as ROGER, then BRIAN, go up to the urinal in the TILED BATHROOM with its real nice echo.

ROGER, one handed, (one drum stick clenched in his teeth) still drums on the TILES as he sings (he has a very high sweet voice)

ROGER/BRIAN “I got a girl...named Sue... she knows just what to doooo... I got a girl...named Sue... ...she knows just what to doooo...

As they sing and harmonise beautifully -

- a THIRD VOICE joins them, taking the 5th part harmony -

ROGER and BRIAN look at each other, and turn...

VOICE “She rocked to the east... She rocked to the west... But she's the girrllll.... ...that I love the best...

The singing - which is very good - is coming from one of the TOILET CUBICLES. They move toward it.

The VOICE in the TOILET CUBICLE continues to sing “TUTTI FRUTTI” very well...as ROGER and BRIAN get down on their knees and peek under the door and see FEET, pointing toward them. Before they can get up off the floor the DOOR opens and the STRANGER walks past them, right over them, moving to the WASH-BASINS.

ROGER and BRIAN stand and look at the STRANGER from behind, who is now bent over the BASIN, washing his hands as he continues to sing. The long-haired STRANGER is wearing SILK trousers, a scarf around his waist and a sheepskin waistcoat. Finally, the STRANGER straightens and his face is at last revealed in the MIRROR...

...a YOUNG MAN of PERSIAN/INDIAN stock, slim, with large buck teeth and long black hair. He GRINS at them, via the mirror...FREDDIE MERCURY!

FREDDIE turns, faces them -

- FREDDIE raises his right arm, feet astride, already striking the iconic pose, eyes closed, chin raised high until he breaks out of it.

REACTION, ROGER and BRIAN: Astonished...

FREDDIE SMILES, but covers his buck teeth with his hand, self-consciously - the bullied little boy showing itself in this lingering mark of childhood insecurity.

FREDDIE dries his hands with a PAPER TOWEL...

CONTINUED: (2)

As ROGER and BRIAN see that their flies are open...

FREDDIE undoes his fly, and pulls out his PENIS, as...

...BRIAN and ROGER hurriedly pull up their ZIPPERS and can’t believe FREDDIE is standing there with his dick out.

FREDDIE smirks, as he ZIPS up...goes to exit...

REACTION, BRIAN and ROGER: What was that?!!!

SMILE play their last note of the gig to 30 appreciative people.

SMILE load their own GEAR into an old VAN...ROGER, BRIAN, TIM.

TIM takes his BASS GUITAR and walks off. ROGER and BRIAN watch him go...

CLOSE ON: A RECORD - JIMI HENDRIX’S “ELECTRIC LADY LAND” - playing on a turn-table.

WIDE: As BRIAN reads the sleeve notes on the ALBUM COVER - FREDDIE excitedly puts his EAR to the LEFT SPEAKER then moves to the RIGHT SPEAKER of his old STEREO RECORD PLAYER...

BRIAN then moves to FREDDIE’s desk, which is full of LITTLE PAPER BALLS, as -

- FREDDIE pulls on SUPER-TIGHT VELVET TROUSERS.

BRIAN un-folds one of the balls - the title is “VAGABOND OUTCAST”. BRIAN looks at FREDDIE, seeing him then as FRED sees himself...

FREDDIE at the full-length MIRROR, struggles to do up the TROUSERS...he starts to LAUGH (FREDDIE’s high GIRLISH LAUGH) and turns to share the joke with BRIAN - those big BUCK TEETH flashing for a second before FREDDIE covers them with his hand. BRIAN, thoughtful, smiles back...

BRIAN picks up a heavily marked scrap of un-balled paper, as FREDDIE dons a LONG BLACK COAT and covers his wardrobe before he EXITS. BRIAN remains - studying the scrap.

FREDDIE’S MUM (O.S.) FREDDIE!

FREDDIE nods, exits.

CONTINUED: (2)

BRIAN looks down again at -

CLOSE ON: The SCRAP: FREDDIE’s curious notation method -

OLDER BRIAN crosses to the BLOGGER, with a WOODEN BOX -

We hear, as SOUNDTRACK, these layers of sound, these elements, building up...up...as - BRIAN opens the BOX. Inside it, LITTLE PAPER BALLS.

BRIAN playfully covers his ears as the noise he hears gets too much. And then the CACOPHONY on the SOUNDTRACK suddenly stops - SILENCE.

BRIAN picks up his “RED SPECIAL GUITAR”

BRIAN sits -

BRIAN alone hears...(as we do, as SOUNDTRACK)...the opening PIANO RIFF of “SEVEN SEAS OF RHYE”...

FREDDIE, playing the PIANO RIFF on the FAMILY PIANO -

BRIAN raises his arms as we hear - BANGGGG! a huge CHORD of MULTI-TRACKED GUITARS with DRUMS...

Another BANGGG! of HUGE GUITARS and then FREDDIE’s voice comes in with the first lyric...

BRIAN silences, with a snap of his fingers, the music.

But the BLOGGER is more interested in the guitar itself.

CLOSE ON: The RED SPECIAL, being strapped on by BRIAN, as

- the band prepare to perform their first song - to a small audience.

ANGLE ON: FREDDIE, struggling to adjust the FAULTY MIC- STAND which is set too low -

ANGLE ON: JOHN DEACON (20) - on BASS GUITAR.

FREDDIE still can’t adjust the FAULTY MIC-STAND -

- but then the top half of the MIC stand breaks off, and won’t go back into the bottom half -

- ROGER and BRIAN share concerned looks. Not a good beginning.

FREDDIE will just use the top half of the MIC stand, the MIC affixed. FREDDIE comes to the centre of the stage.

For a second FREDDIE stares at the audience, the shy nervous Farouk Bulsara. But then he takes a deep breath and nods at BRIAN, who counts in the BAND -

“SMILE” strike up the intro to“Doin’ All Right” - and FREDDIE jumps into a dramatic pose, which he holds like a statue -

BRIAN and ROGER and JOHN all share surprised looks as FREDDIE then begins to TRANSFORM THE SONG - his hugely dramatic and showy performance a million miles from what we saw Tim Staffel do with it.

ANGLE ON: The Audience reaction: Startled.

A trendy clothes boutique -

CLOSE ON: MARY AUSTIN (19), who works in the store.

FREDDIE, a gentleman, proffers his hand -

They smile at each other.

BRIAN nods.

CLOSE ON: BRIAN’s FINGERNAILS - now varnished WHITE.

WIDE: BRIAN and FREDDIE and ROGER (ROGER has a less over- the-top wardrobe than the others) are looking through the clothing racks - while MARY speaks with another customer. FREDDIE keeps sneaking glances at her -

FREDDIE looks at MARY, who sees him looking, and he - shyly pretends to go through more clothes.

CONTINUED: (2)

LATER. MARY shows out the last shopper and turns to see FREDDIE, the last one in the store - BRIAN and ROGER are gone, and FREDDIE is still pretending to go through the clothes.

ANGLE ON: FREDDIE, his eye momentarily taken by a HANDSOME YOUNG MAN, who glances at FREDDIE, before leaving the store. FREDDIE watches him go, with as yet unadmitted sexual interest, as -

MARY is standing right behind him. Conflicted, he manages-

A spark passes between, as FREDDIE tries to pluck up the courage -

- and as MARY notices that FREDDIE’s FINGERNAILS are varnished BLACK.

He leaves, but then returns -

She smiles at him - he’s CHARMING.

FREDDIE and ROGER work their little STALL, trying to sell FREDDIE’s ART-WORK (drawings of JIMI HENDRIX, ROCK HUDSON)

Right now, no buyers...And then, through the crowd, comes MARY -

FREDDIE picks up a VENETIAN MASK and holds it over his face.

FRED slides the MASK down...and then starts to sing...

CONTINUED: (2)

ROGER sees that these two are smitten with each other.

With MARY, FREDDIE buys an old damaged PIANO, paying CASH, but is a little short and so whispers to MARY, who has to open her PURSE and contribute...FREDDIE smiles at the PIANO SELLER over this...

MARY and he watch the PIANO being loaded into a truck.

CLOSE ON: The BRUSH of the BLACK-FINGERNAIL painting BLACK NAIL-POLISH onto - the White Piano Keys.

WIDE: We are in the tiny new flat Freddie has just rented – empty but for the piano. While he paints the White Keys BLACK...MARY paints the black keys WHITE...

He steals a kiss on her CHEEK -

She then leans forward and kisses him on the LIPS. When she stops -

Keeping his eyes locked on her, he blindly plays a few cheerful notes on the PIANO, which makes her smile.

They have just finished making love, on the floor. He kisses her body with little love-pecks -

LUNCH. While they eat, MARY communicates with her parents - both are MUTE and DEAF and communicate in sign language with MARY.

Tense silence. FREDDIE seems nervous, shy. His FINGERS, on the table, TAP OUT PIANO NOTES on an imaginary keyboard...

MARY’s PARENTS both notice that FREDDIE’s tapping finger- nails are painted BLACK.

FREDDIE smiles at her parents, who smile back.

BOOM. FREDDIE’s heart stops - mortified!

REACTION MARY’s PARENTS: outrage.

FREDDIE lowers his head, trying to eat.

CONTINUED: (2)

FREDDIE, HAPPY, hurries up the street and climbs the steps to a front door, humming a TUNE, lighting a CIGARETTE.

FREDDIE runs up the stairs - humming the TUNE -

FREDDIE opens the door to his FLAT, and is surprised to see -

- MARY, in their new bed, drowsily waking. (The PIANO serves as the bed’s HEADBOARD)

FREDDIE peels off his shirt, kicks off his shoes, and then takes another HIT on his CIGARETTE...

FREDDIE stops at the full-length mirror -

He bounds into bed.

She giggles as he tickles and kisses her -

He kisses her bust and she playfully pushes him away until their eyes lock and they start to kiss passionately, and make love - MARY moving on top of him, happily. Until -

FREDDIE stares at her, his eyes wide (is he in pain?) and then - without raising his head from the pillow - reaches - with his right hand, up and behind him - for the PIANO keys...

CONTINUED: (2)

Lying there, he BLINDLY plays a few notes on the PIANO...

(We start to recognise the TUNE as the opening bars of what will eventually be BOHEMIAN RHAPSODY) He likes what he hears, as his face breaks into a smile.

They start to kiss and MAKE LOVE again but, as he caresses her with his LEFT HAND, his RIGHT HAND sneaks back up to the keys and plays the opening phrase of the TUNE.

She jumps out of bed.

MARY slams the bathroom door.

CONTINUED: (3)

He then lies back and reaches up with BOTH HANDS and plays blindly - even more recognizably - the opening bars of BOHEMIAN RHAPSODY. He tries now to hum a melody over it -

FREDDIE gives up, looks down, notices he has an erection, as MARY exits the BATHROOM, heading for the KITCHEN.

He gets out of bed, adjusting himself -

FREDDIE exits the BEDROOM, hunting MARY, and we promptly hear (O.S.) HAPPY SQUEALS from MARY...

LUNCH. It’s FREDDIE’s BIRTHDAY. A far noisier affair than the Austin’s. Everyone is wearing paper party hats.

FREDDIE is dressed VERY CONSERVATIVELY - playing the role of the good son.

MARY meets FREDDIE’s boisterous family, and sees the love they all have for him.

FREDDIE’S MUM No, Farrokh was born in Zanzibar.

Even here, FREDDIE is nervous, TAPPING his FINGERS, playing that PHANTOM PIANO.

FREDDIE’S MUM What?

MARY notes that - FREDDIE’s tapping FINGERNAILS are no longer PAINTED BLACK - He’s hiding his true nature from those who love him most.

FREDDIE shrugs at the revelation of this family secret, as - his MUM comes to the table with a STACK of FAMILY PHOTOS and starts passing them to MARY...

FREDDIE’S MUM His father and I are Indian Parsees.

FREDDIE’S DAD FREDDIE

(defensively) (singing) A thousand years ago the La da da da da da da da da Parsees came out of Persia da dada dadadada... to escape Muslim persecution...

FREDDIE’s sister passes bread to MARY -

FREDDIE scowls at KASHMIRA, as -

- MARY shows FREDDIE a PHOTO of a 10 YEAR OLD FARROKH, in a village in ZANZIBAR, grinning with BUCK TEETH...

FREDDIE winces as he snatches the PHOTO away from MARY.

CONTINUED: (2)

KASHMIRA BULSARA FREDDIE

What?! What are you so Kash! WHY DON’T YOU JUST - embarrassed about?!

FREDDIE’S DAD Both of you!!!

FRED’s DAD shows MARY then FRED a PHOTO of YOUNG FREDDIE in BOXING GLOVES...

FREDDIE’S DAD Was a good boxer actually.

FREDDIE can take no more of this and bounces over to the FAMILY PIANO, and starts to bash on the keys -

FREDDIE’S DAD (aside, to MARY) But his opponents went for his teeth.

FREDDIE winks at MARY, but MARY - serious-faced - perceives FREDDIE’s game, that he’s hiding his biography from her. She then notes that the FAMILY are delighted by FREDDIE’s pantomime...

CONTINUED: (3)

FREDDIE’S DAD Acker Bilk!

FREDDIE slips into “Stranger On The Shore” and, as he plays, BLOWS - with pursed lips - the CLARINET part, which gets the whole family La-la-laing the lilting melody...

MARY finally smiles at this balmy family.

FREDDIE then slams shut the lid of the PIANO.

FREDDIE’s DAD picks up where they left off, handing another PHOTO to MARY -

FREDDIE’S DAD And this is Farrokh at boarding school in Bombay...

FREDDIE explodes -

FREDDIE’S MUM Well you’re not on stage now Farrokh.

CONTINUED: (4)

Stunned silence, then -

FREDDIE’S DAD You want your own family--to call you Freddie Mercury?

FREDDIE’S MUM FreddieMercury? What is this? (to MARY) What is wrong with Farrokh? With Bulsara?

He resumes eating. The FAMILY and MARY stare at him. The FAMILY finally resuming eating as well - accepting this.

ROGER comes out of the DRESSING ROOM - in a full GLAM OUTFIT.

Designer, Zandra Rhodes, nods with approval as - a second later, another curtain parts, and BRIAN comes out in another GLAM OUTFIT, complete with a WING-SHIRT. A second later, and JOHN comes out in a THIRD COSTUME - and finally FREDDIE - only FREDDIE looks happy.

BRIAN performs a LICK of AIR-GUITAR - we actually HEAR the LICK (intro to “VOODOO CHILD”) as SOUNDTRACK...

FREDDIE shoots BRIAN an “Et tu Brute” look.

JOHN’s costume is too tight for him -

TIGHT ON: The BASS DRUM, sporting it’s new LOGO -

QUEEN

QUEEN play...”STEP ON ME”...but now for disinterested ROLLER-SKATERS, going round and round. The BAND looks ridiculous in their new ZANDRA RHODES COSTUMES. When the song ends they are approached by the RINK MANAGER...

The BAND stand there, stunned, as cheap DISCO comes over the TANNOY. The SKATERS go round and round.

FREDDIE, composing on the PIANO, CATS lying on the PIANO -

BRIAN finishes lighting a CANDELABRA, touching a match to the last THREE wicks...

As he mimes (AIR-GUITAR) playing the first notes, we hear these notes as SOUNDTRACK...

He mimes again, and we hear the same notes in reverse, as a RISING SCALE now...

He mimes the little LEAD GUITAR FILL that bridges the next section - as we hear the SONG switch -

FREDDIE’S VOCAL (O.S.) OLDER BRIAN

“In the land where horses (talking the lines) born with eagle wings “In the land where horses And honey bees have lost born with eagle wings their stings And honey bees have lost There's singing forever...” their stings

There's singing forever...”

The song abruptly stops being heard as BRIAN disappears his air-guitar...

MONTAGE OF:

A) The COVERS of the FIRST THREE ALBUMS -

B) RAPID shots of NEW YORK (1973) - and an old TOUR BUS crossing bridges...

We hear: “Seven Seas Of Rye“.

C) SAN-FRANCISCO -

We hear: “White Queen “ - a song off their second album.

D) the HOLLYWOOD SIGN -

We hear: “Now I’m Here“ - a song off their third album.

ROGER, BRIAN and JOHN lean up against a waiting TOUR BUS...

ROGER goes to get FREDDIE -

ROGER appears in the open door of the MOTEL ROOM, where FREDDIE is still on the PHONE -

But the PHONE is only being held up to the EAR of one of FREDDIE’s CAT’s!!! - by a smiling MARY -

FREDDIE’S VOICE (over the phone) ...Delilah? Can you hear me, sweetheart?

The QUEEN TOUR-BUS roars across the heartland -

Inside, the BAND all play “SCRABBLE”. BRIAN, pleased, sets down his TILES.

REACTION BLOGGER: Confused, as we hear...the FINGER- SNAPPING INTRO to “Killer Queen”...

The band performs (mimes) “Killer Queen” on the BBC’sTop Of The Pops.

What a transformation in the band! We see the young Queen in full glam-rock glory – outlandish costumes, lights, make- up! And Freddie, in full flamboyant flow.

MONTAGE OF:

A) Arriving at TOKYO AIRPORT (1974) to adoring fans -

B) Playing BUDOKAN, TOKYO, JAPAN (1975) - FREDDIE in full, strutting, theatrical mode...

C) Playing BEACON THEATRE, NEW YORK (1976) - FREDDIE in full, strutting, theatrical mode...

The FOUR BAND-MATES count small change, but are still a few pence short of a meal -

- until JOHN finds a £5 note, and offers it! The other band- mates kiss JOHN in thanks...

QUEEN sign their new deal and shake hands with the DAPPER, almost dandyish, smiling, JOHN REID, among photos of his other client, ELTON JOHN...

QUEEN also shake the hand of PAUL PRENTER, Reid’s mustached assistant...

CLOSE: on JOE BASTIN, a handsome record executive of FREDDIE’s age.

ANGLE ON: FREDDIE, taking a clear interest in JOE BASTIN -

FREDDIE finally concentrates on what EMI BOSS, RAY FOSTER, has to say...

AT FOSTER’s side stand JOE BASTIN and his FINANCIAL OFFICER. They face -

- JOHN REID, PAUL PRENTER and QUEEN.

FREDDIE goes to the record player and slips on an ALBUM. Meanwhile BRIAN and ROGER and JOHN exchange nervous looks. RAY FOSTER looks to his advisors, who shrug. The MUSIC comes on - They all listen. It’s OPERA.

FREDDIE, as if conducting the orchestra, thrills to a particular passage (a coloratura) in the music - singing along with it -

REACTIONS ROGER, BRIAN, JOHN - nervous about how this is going down.

RAY FOSTER looks simply confused, as FREDDIE turns off the music.

CONTINUED: (2)

The BAND stare at FOSTER - not buying it.

JOHN REID looks at the band, and then nods -

FREDDIE glares at JOHN REID for this.

Silence from the BAND, until -

JOHN REID and PAUL PRENTER stand and toast their deal, but QUEEN, very GLUM, refuse to stand, or join the toast.

ROGER, BRIAN, FREDDIE and JOHN just stare at him.

FREDDIE raises his glass - and turns to the EMI EXECUTIVES across the room -

JOHN, ROGER and BRIAN all observe this -

FREDDIE and PAUL shake hands.

ANGLE ON: BRIAN watching - suspicious -

FREDDIE and PAUL smile at each other.

CONTINUED: (2)

Later - REID and QUEEN confer -

JOHN has the best business head -

A KEY moment for the band - they look at each other for the longest time...

REID looks at ROGER and JOHN, who swallow their nascent dissatisfaction with this.

CONTINUED: (3)

FREDDIE (sitting with JOHN REID)...

FREDDIE glances over at JOE BASTIN, who smiles at FREDDIE while raising his GLASS. FREDDIE, nervously, smiles back, raises his glass, ever careful not to bare his TEETH.

JOHN REID notices this exchange between the two men - and it appears to trouble him...

FREDDIE just stares at John, and says nothing.

FREDDIE looks at his friends, anxiously: Do they know about him also?

REACTION FREDDIE: Concern - has JOHN REID detected his true nature?

Fred gives MARY a PRESENT.

MARY opens the box and inside is another box. She opens this second box only to discover, inside, a third...and so on...

Finally MARY takes out a RING-BOX, and opens it. Inside is a RING. She stares at him - stunned.

Her heart stops.

They kiss.

She nods, moved, looking at her RING. FREDDIE watches her, warmly - but conflicted.

CHICKENS and COWS cross the FARMYARD. A working DAIRY FARM.

ANGLE ON: QUEEN, standing with their gear, at the gates, in the mud, uncertain if this was a good idea.

The FARMER comes out to greet them.

The BAND cross the YARD. FREDDIE, playfully, chases a CHICKEN that SQUARKS and FLAPS away.

This makes BRIAN and JOHN dash indoors to grab them - leaving FREDDIE and ROGER the last to enter the FARMHOUSE.

WIDE SHOT of the YARD.

THE YARD - LATER. ROGER now CHATS-UP a FARM-GIRL (who holds an URN of MILK) as the sound of BRIAN’s GUITAR (playing ROCK CHORDS - not yet a memorable riff) emanates from the open windows.

FREDDIE, ROGER, BRIAN and JOHN are shouting at the same time - ROGER’s VOICE breaks through.

Only BRIAN is brave enough to say it -

JOHN and FRED prefer not to say...

JOHN knows BRIAN has gone too far. FREDDIE too, winces, anticipating what is to come...

ROGER looks at BRIAN - then GOES to a SHELF holding CASSETTE TAPES. He pulls it over -CRASH!

ROGER then PUSHES over his DRUM-SET - CRASH!

CONTINUED: (2)

ROGER then picks up the COFFEE MACHINE...the BAND react as one:

BRIAN/JOHN/FREDDIE/ROY NOT THE COFFEE MACHINE!

ROGER stares at them, the COFFEE MACHINE held aloft.

FREDDIE walks out...

FREDDIE wanders in to the RIDING-GEAR STORAGE ROOM and sees, to his surprise, behind HAY BALES, an OLD PIANO. He moves the top BALE aside and uses the remaining one as a PIANO STOOL. He tests the keys - a little out of tune in the uppermost keys...

IN FRUSTRATION, he bangs out a few dumb cords and then stops - thinks a moment - what shall he play? He sighs, alone in this little shed, letting all the TENSION out of himself, trying to rid himself off all the shit that is weighing him down...

He flexes his FINGERS, looks at the keys and then sets his FINGERS on the keys...trying to recall an old half-written piece...the opening “MAMA” part from BOHEMIAN RHAPSODY...

He remembers, and plays the opening bars beautifully on the BROKEN PIANO. Pausing again - he recalls the lyrics...then plays again, but singing now, clear, high, clean, emotional...

He pauses, reflecting, with strong emotion, on the meaning of this line...

FREDDIE plays the song for the BAND on a WHITE GRAND PIANO...

JOHN comes in softly with his BASS part...

ROGER now comes in, softly, beautifully, on the drums...

What truth? It’s obvious...

FREDDIE plays a few more notes and then stops -

FREDDIE stops, turns, looks at BRIAN.

BRIAN looks at ROGER and JOHN.

BRIAN goes to the PIANO, throws open the lid and starts to play the chords of the OPERA BIT...

With a CLUNK the 24-TRACK RECORDING TAPING MACHINE starts to RECORD. At the MIXING DESK -

FREDDIE recording the PIANO of the OPERA BIT. The lid of the piano is covered his little scraps of paper. FREDDIE stops when he makes a mistake.

FREDDIE NODS, goes again, slower...

ELECTRICAL CABLES now cross the farm toward the TACK- ROOM...

ROGER, wearing cans, plays the DRUM TRACK - which is all we can hear - amid the TACK and HAY-BALES. He’s is being watched by the now ADORING FARM-GIRL.

JOHN, wearing cans, plays the BASS track of the OPERA BIT - which is all we can hear.

BRIAN, wearing cans, plays the searing LEAD-BREAK - which is all we can hear. He finishes.

The BAND listen to the PLAYBACK of the MIXED INSTRUMENTATION of the OPERA BIT (BASS, DRUMS, PIANO, TIMPANY) -

The BAND is served food by the FARMER’s WIFE. They all eat silently, until -

Morning. A ROOSTER CROWS. SILENCE, and then -

ROGER recording the HIGHEST part of the BACKING VOCAL on the OPERA BIT.

The ENGINEER holds up the TAPE - almost TRANSPARENT!

BRIAN is recording his GALILEO’s, but singing a BASS VERSION -

REACTION FREDDIE: A big SMILE, he knows he has GOLD on tape.

The FULL MIXED RECORDING of BOHEMIAN RHAPSODY is played on RAY FOSTER’s TAPE MACHINE, for RAY FOSTER and his FINANCIAL OFFICER and JOE BASTIN. Present, also, are QUEEN, and JOHN REID, and PAUL PRENTER.

The SONG ends. The BAND waits for a VERDICT.

CONTINUED: (2)

ROGER, BRIAN and JOHN look at FREDDIE - SILENCE. FREDDIE shrugs -

This does little to appease FOSTER - and then -

FREDDIE looks at JOHN REID, furious - gives his ‘Et Tu Brute’ look. ROGER and BRIAN and JOHN also stare at JOHN REID, outraged.

JOHN REID looks back at FREDDIE and holds up his hands -

The TAPE MACHINE is wound backwards -

FREDDIE sings “LOVE OF MY LIFE”, recording vocals and piano solo, as the rest of the BAND - watch from the CONTROL ROOM, (Top Lit as in the album cover, minus Freddie.)

FREDDIE sings his SONG FOR MARY, beautifully, over...

...as MARY shops for a WEDDING DRESS.

FREDDIE plays and sings - with great emotion...

The TAPE MACHINE is stopped.

ROGER gives BRIAN an “I-told-you-so-look” but then offers -

FREDDIE and ROGER and BRIAN and JOHN in private conference.

BRIAN and JOHN and FREDDIE stare at ROGER, who nods and raises his pint -

FREDDIE angrily strides down a LONDON STREET carrying a SHOULDER BAG. He opens the SHOULDER BAG and takes out a BRICK...as he stops below a certain window...

JOHN REID introduces PAUL PRENTER to JIM BEACH.

Just then his WINDOW explodes. KOOOOOSSSHHHHH! FREDDIE’s BRICK lands on the FLOOR.

REID creeps to the broken window and looks down at -

FREDDIE, hands on hips, looking up -

FREDDIE marches off down the street.

MONTAGE

A) ROGER selling his CAR, to CASH-BUYER 1

B) FREDDIE selling his WHITE PIANO (with black keys) to CASH-BUYER 2

C) JOHN selling his HI-FI-EQUIPMENT to CASH-BUYER 3

D) BRIAN selling his TELESCOPE, to CASH-BUYER 4

The BAND record their VIDEO for BOHEMIAN RHAPSODY...

The CAMERAMAN is ready to shoot. The BAND wait, arranged in their now famous diamond-shaped tableau, but in silhouette at this stage, waiting...

BRUCE GOWERS, the DIRECTOR, to his ASSISTANT DIRECTOR -

The CAMERA passes over -

- items on a table, firstly the famous RECORD cover of MARLENE DIETRICH (lit from above, hands crossed over her collar-bone - the CONCEPT/INSPIRATION for this VIDEO) - and then settles on CAMERA LENSES. The CAMERA ASSISTANT picks up one SPECIAL F/X LENS, and holds it over his face, checking it, and we see his face fragmented into FIVE faces, just before he holds it over the CAMERA LENS.

The DRY ICE machine kicks in, clouding the back-light behind the BAND.

The CAMERA ASSISTANT holds up the CLAPPER BOARD - on it is marked:

VIDEO - BOHEMIAN RHAPSODY, QUEEN, DIRECTOR BRUCE GOWERS”

We hear:

ROGER/BRIAN/JOHN/FREDDIE (singing) “Is this the real life,

ROGER/BRIAN/JOHN/FREDDIE - is this just fantasy, caught in a landslide, no escape from reality.

The TOP LIGHT comes up as the BACK-LIGHT fades out. The FOUR FACES are revealed...bodies in black...FOUR Marlene Dietrichs (FRED’s hands crossed over his collar-bone)

ROGER/BRIAN/JOHN/FREDDIE Open your eyes look up to the skies...

(The OPERA BIT continues - Reproduce a perfect facsimile of the FAMOUS VIDEO - same shots and camera-angles.)

CONTINUED: (2)

Outrageously ‘camp’ DJ, KENNY EVERETT, sings his signature tune, then resumes interviewing FREDDIE...

OFF-AIR. FREDDIE slips KENNY EVERETT a copy of a SINGLE (45 RPM) RECORD - Kenny reads the title?

KENNY looks out the STUDIO WINDOW to his PRODUCERS in next room, then scrunches up his face like a naughty school-boy, and HIDES the ‘45’ under his JACKET.

KENNY EVERETT’s PRODUCERS, furious now, BEAT on the WINDOW, before trying to rattle open the door which is locked.

The PRODUCER, outside, shakes his head, issuing a FINAL WARNING, but KENNY raises his INDEX FINGER HIGH and then theatrically drops it on the PLAY BUTTON. “BO-RAP” starts again...

OUTSIDE the BOOTH...

The PRODUCERS turn and see FREDDIE standing right behind them, talking to PAUL PRENTER, both looking in at KENNY.

CONTINUED: (2)

FREDDIE grins, covering buck-teeth with hand, then walks off down the long RADIO STATION HALLWAY with PRENTER (who share a low-key HI-FIVE), as the PRODUCERS watch...

VIDEO EXCERPT: “CHICAGO” (1976) playing “IF YOU LEAVE ME NOW”...a low-wattage song and performance...

A VAST CROWD awaits QUEEN’s arrival on-stage, CLAPPING, in HIGH EXCITEMENT -

The BAND make their way to the STAGE, and as they do so, the CLAMOR of the VAST AUDIENCE actually FADES to SILENCE, to total SILENCE...

SOUNDLESSLY the band makes their way onto the stage, the CAMERA trailing them, until the CAMERA reveals what the band see as they step on-stage -

- MASSED HUMANITY! But silent -

REACTION FREDDIE, ROGER, JOHN, and lastly BRIAN - Awe- struck by a sound we can’t hear - CUT-AWAYS of members of the wildly gesturing (but SOUNDTRACK-MUTED) CROWD...

BAND plays “TIE YOUR MOTHER DOWN”

FREDDIE engages the crowd with his “DAY-O” ROUTINE....

Police motorcycles lead a TANK down the CROWD-LINED street of BUENOS AIRES, with the motorcycles crisscrossing to keep civilians and cars away from the tank.

Appearing out the TOP of the TANK, FREDDIE MERCURY, waving a ARGENTINIAN FLAG...

FREDDIE walks out on-stage to a FOOTBALL STADIUM AUDIENCE of 58,000 (nearly all of whom waving LIT LIGHTERS!) He waves to this TWINKLING GALAXY of PEOPLE...

Onstage, FREDDIE has his eyes closed, as if PRAYING, as - 58,000 Brazilians sing “LOVE OF MY LIFE”! A tremendously moving - almost holy - experience for him.

When FREDDIE opens his eyes - he has TEARS in them.

BRIAN, on-stage alone, starts an extended GUITAR SOLO, as FREDDIE jogs from the stage...

...Backstage - FREDDIE quickly changes into a new costume, with the help of PAUL PRENTER, as BRIAN’s SOLO continues. ROGER drains a cup of water...

OLDER BRIAN, eyes closed, remembering, smiling, plays the RED SPECIAL GUITAR (unplugged) - as we hear him reproduce the virtuosic lead-break (mutely) on the un-amplified strings...

...BRIAN, on-stage, alone, at full volume again, still cutting loose on the RED SPECIAL -

FREDDIE, now slouched in a chair, in his new costume and waiting to go back on, but awaiting the end of BRIAN’s SOLO. PAUL PRENTER checks his watch -

Just then the STAGE MANAGER enters -

FREDDIE and ROGER stalk back on-stage, to a roar from the CROWD.

A BACCHANALIAN REVEL straight from the imagination of FELLINI - we see the FUN of being one of the biggest bands in the world...

MONTAGE A (NEW ORLEANS PARTY): of -

A) BRIAN on the BALCONY, surveys, from above the hotel ballroom, made up to resemble labyrinthine jungle swamps, swarming with -

B) Naked dancers, cavorting in bamboo cages suspended from ballroom ceilings.

C) Magicians

D) Zulu tribesmen

E) Contortionists

F) Fire-eaters

G) FREDDIE, dressed in an outrageous costume, greets (loving) GUESTS and hands out GIFTS as they arrive. Helping him to hand out gifts is PAUL PRENTER...

The GUESTS OOOHHH and AHHHH as they open their GIFTS - WRIST-WATCHES for the MEN, JEWELRY for the WOMEN.

H) JOHN and his WIFE are served champagne by naked waiters and waitresses who carry their tips in their bodily crevices.

I) Nude models of both sexes wrestle in huge baths of shimmering, uncooked liver.

J) QUEEN’s “BICYCLE RACE” VIDEO (with nude girls on bikes) is projected on to a screen.

K) FREDDIE signs his AUTOGRAPH on the BUTT of a GLAM FEMALE FAN, who has hoisted up her BALL-GOWN and pulled low her KNICKERS. PAUL PRENTER roars with laughter.

L) HERMAPHRODITE DWARVES deliver COKE on TRAYS strapped to their heads...PAUL PRENTER directs one of the DWARVES in the direction of - FREDDIE.

The BLOGGER is confused - so did it happen, or not?

MONTAGE B (NEW ORLEANS PARTY): of -

M) A dwarf lies on a table beneath cold cuts of meat - he jiggles when a slice is removed. This causes a FEMALE DINER to scream with SURPRISE.

N) ROGER entertains 3 ATTRACTIVE WOMEN.

O) BRIAN watches the entire scene from the BALCONY, while being interviewed by a JAPANESE BLOGGER...

He then looks down upon the world the band created.

P) FREDDIE, climbs onto a BALCONY and prepares to DIVE on to a CHANDELIER.

The CROWD shouts to FREDDIE, trying to stop him, but FREDDIE isn’t listening. He dives toward a CHANDELIER. He makes it! But the CHANDELIER collapses under his weight, and the whole thing - and FREDDIE - drops onto a CAKE- TABLE, softening his fall. CRASH!

The CAMERA descends on the supine FREDDIE, over -

FREDDIE, lying there, winces in pain - as JOHN DEACON comes to his rescue, helping him up...

The BAND at full tilt, playing the climactic CHORD/NOTE of a big song - FREDDIE dancing, SWEAT POURING OFF HIM, the BAND playing at double speed, sustaining the tension of the last chord, bathed in SWEAT also, faster, faster, faster - the vast audience climactic too...

(INTERCUT with - )

MONTAGE (GLOBAL AUDIENCES)

A) US AUDIENCE ecstatic (QUEEN in a different costume)

B) JAPANESE AUDIENCE ecstatic (QUEEN in a different costume)

C) BRAZILIAN AUDIENCE ecstatic (QUEEN in a different costume)

D) LONDON (HYDE PARK) AUDIENCE ecstatic (QUEEN back in the original Hyde Park costume)

Silence. FREDDIE and BRIAN and ROGER and JOHN collapse side- by side on TWO COUCHES after the concert. ALL are bathed in sweat, utterly drained of energy. JOHN REID nods at JIM BEACH, the band’s lawyer, who -

- herds everyone else, including himself, out of the room - except for one - PAUL PRENTER.

JOHN REID exits, as PAUL PRENTER clocks the tension.

FREDDIE covers his face with his hands - he’s really bone tired, exhausted...then emerges, melancholic...

PRENTER exits.

FREDDIE’s POV of: his friends...

CONTINUED: (2)

FREDDIE pulls off his top and grabs a towel, going to take a shower...

ROGER and JOHN and BRIAN share a concerned look.

FREDDIE and JOHN REID ride in the backseat -

FREDDIE stares at JOHN REID, until -

JOHN offers his hand and FREDDIE shakes it - emotional, knowing what is coming next...

The LIMO stops. FREDDIE leans over and opens REID’s door -

FREDDIE pushes JOHN REID out and then uses his FEET -

REID is kicked out of the LIMO by FREDDIE, who then slams the door, before the LIMO pulls away.

FREDDIE and MARY and BRIAN and ROGER and JOHN and PAUL PRENTER and JOE BASTIN and JIM BEACH are having DINNER in a fine-dining restaurant. WAITERS hover around their star guest, as FREDDIE speaks -

JOHN and ROGER and BRIAN all nod.

FREDDIE looks at JOE BASTIN -

Over laughter, FREDDIE picks up a bottle, as if to strike JOE -

CONTINUED: (2)

Under the table JOE pats FREDDIE’s LEG as he grins at the others -

FREDDIE reacts to the tap on the knee and the look in JOE BASTIN’s eyes like an ELECTRIC SHOCK. Did BASTIN just make a pass at him?

MARY observes this - and feels left out.

FREDDIE eyes go back to JOE BASTIN, who is talking now with PAUL PRENTER...

As FREDDIE watches BASTIN - MARY notices. When FREDDIE, embarrassed, turns back to looks at her, he kisses her on the cheek and TAPS her on the leg in the exact same way BASTIN just did to him.

Noticing all this, is ROGER, who looks between FREDDIE, MARY and JOE BASTIN, even while chatting up a BRUNETTE BEAUTY.

FREDDIE and JOE BASTIN are talking. FREDDIE seems nervous, shy. JOE BASTIN then kisses FREDDIE on the CHEEK. JOE BASTIN then walks off, into the crowd, as - FREDDIE is joined by MARY and PAUL PRENTER, who carries drinks.

But FREDDIE’s mind is only on JOE BASTIN -

FREDDIE pushes through the crowd, going after BASTIN, and is gone.

MARY and PRENTER, who don’t like each other, are stranded there, with their preposterous drinks.

REACTION, MARY: Anxious. Knows something is going on. She sips her drink and then looks at PAUL...He smiles weakly at her, INSINCERELY...

MARY, insulted, stares at PAUL, her dislike confirmed.

MARY comes in with SHOPPING BAGS and a stack of BRIDAL CATALOGUES. FREDDIE is sleeping off his hang-over. MARY is still carrying anxiety, but trying to hide it.

She tugs at his COVERS.

ANNOYED, she tugs off the COVERS completely - exposing him, TOTALLY NUDE. He makes no move, comfortable with nudity.

MARY then opens a SHOPPING BAG and takes out a BRIDAL HAT with VEIL...

FREDDIE looks at her, then lowers his head, guilty.

FREDDIE gets up, wraps himself in a men’s silk JAPANESE KIMONO.

He walks toward her - looks at her face through the VEIL and then slowly raises the VEIL. His SAD face alerts her to his PROBLEMS. She slowly takes off her HAT & VEIL...

He holds her hands tenderly, looks at the ENGAGEMENT RING on her finger, and then stares into her eyes...

CONTINUED: (2)

The truth hits MARY in this moment -

TEARS come to her eyes.

EMOTION breaks over them both like an ocean -

CONTINUED: (3)

The WRINKLE of a smile from her but this is instantly lost again under her LOSS and PAIN -

He has TEARS coming from his eyes now too - She touches his face tenderly...lovingly...

CONTINUED: (4)

MARY starts to take off her ENGAGEMENT RING -

They embrace. It’s clear - they are inextricably bound, for better or worse.

FREDDIE is moving in to his ENORMOUS mansion. The rooms are largely empty, except for CATS - more than we have seen before. FREDDIE instructs the PIANO MOVERS where to put the STEINWAY.

ROGER enters, looks around.

ROGER nods - sees that unhappiness is a ghost that haunts his friend.

ROGER hugs FREDDIE and looks into FRED’s eyes - a brotherly moment that says “You’re gonna be fine.” ROGER exits. FREDDIE, after a moment’s sadness, turns his attention back to the placement of the PIANO...

FREDDIE pours one glass of MOET, then paces slowly between the empty rooms. Looking at his costly new things - most of them unwrapped - TIFFANY LAMPS, LOUIS XIV CHAIRS. He plays ARETHA FRANKLIN’s “Sweet Bitter Love” on a record player. He listens intently, unbearably lonely, then picks up the TELEPHONE and goes to the WINDOW.

FREDDIE’s POV of a DISTANT APARTMENT’s LIGHTS (MARY’s) going on and off. FREDDIE SMILES as he turns off his own LIVING ROOM lights and turns them on again.

A CAT sits on the lid of the STEINWAY as FREDDIE composes - what will become "Somebody To Love." He plays the first piano part...the INTRO... starting slowly, softly, developing it until he finds what he wants. He picks up his pen and notates the music...As he WRITES we hear (on the SOUNDTRACK) the music he is hearing in his head. The piano intro is repeated...

MONTAGE (The Search For Love)

A) RESTAURANT. FREDDIE and JOE BASTIN talk over DINNER...

B) MARY’s FLAT. MARY frames a PHOTOGRAPH of herself and FREDDIE...alone, with FREDDIE’s cats.

B) MANOR RECORDING STUDIO. ROGER, BRIAN and FREDDIE share a MIC and record the GOSPEL BACKING TRACK - a monumental gospel feel -

ROGER/BRIAN/FREDDIE “SOMEBODY!!”

C) FREDDIE’s MANSION - FREDDIE at his PIANO, sings -

D) MANOR RECORDING STUDIO -

ROGER/BRIAN/FREDDIE “SOMEBODY!!..“CAN ANYBODY FIND ME...”

E) FREDDIE’s MANSION - FREDDIE at his PIANO, sings -

F) ON A LAKE. FREDDIE and JOE BASTIN laugh as they try to SAIL a YACHT on a lake, and have no CLUE at first - but then they are soon underway, JOE at the TILLER, gliding along in a firm breeze. FREDDIE looks happy...

G) RESTAURANT. MARY now has a date with a BACHELOR, until she is called away by the waiter, who indicates there is a PHONE-CALL for her...

H) MARY picks up the PHONE... (INTERCUT with - )

I) ...FREDDIE, in tears on his couch with his CATS, talking on the phone to MARY, whilst watching his favorite DOUGLAS SIRK MOVIE - “Imitation Of Life” - specifically the climactic FUNERAL SCENE with LANA TURNER and the GOSPEL CHOIR.

J) The BACHELOR, alone, looks at his WATCH, wondering when MARY will return...

K) FREDDIE and MARY and JOE at a CLOTHING STORE CHECK-OUT all pile their clothes on the counter -

FREDDIE takes out his CREDIT-CARD.

Stunned looks from the SHOPPERS...

L) Outside the CLOTHING STORE, all the HAPPY SHOPPERS, arms loaded with SHOPPING BAGS, applaud FREDDIE for his generosity as he and MARY and JOE emerge, and walk off down the street, waving them goodbye.

K) MANOR RECORDING STUDIO -

CONTINUED: (2)

ROGER/BRIAN/FREDDIE “SOMEBODY!

ROGER/BRIAN/FREDDIE “PLEASE! ANYBODY FIND ME....!”

L) NEW YORK HOTEL. FREDDIE sits on the end of the BED, as JOE BASTIN ZIPS up his bag, making to go.

JOE looks at FREDDIE fondly, then exits the HOTEL ROOM. FREDDIE is tearful, but sniffs it away, straightens his spine. He stands...and goes into the BATHROOM...

M) ...FREDDIE soaks in the hotel bath, forlorn, writing LYRICS on the wall with a MAGIC MARKER:

“This thing called love, I just can’t handle it, I ain’t ready”

QUEEN on stage before a packed room of JOURNALISTS and critics.

FREDDIE, puffing on a cigarette, is in the mood for a fight!

ANGLE ON: BRIAN, concerned for FREDDIE -

The BAND winces. So does JIM BEACH and PRENTER at the back of the room. The CRITICS can’t believe their ears -

ROGER and BRIAN and JOHN look at FREDDIE, annoyed, but what can you do?

But FREDDIE then leans over to BRIAN and WHISPERS something into his ear. BRIAN reacts in a way that suggests that FREDDIE just told him what “Bismillah” means.

The BAND, just off the stage, sit for one of FREDDIE’s post concert banquets.

JOHN and ROGER and BRIAN sit at the grandly set TABLE.

They all slowly start to eat as PRENTER pours champagne.

In concert, under a spot-light, FREDDIE sings his (public but encoded) declaration of who he is... In the presentation it should have a dramatic quality of a defendant in the witness stand, giving his testimony.

ROGER/BRIAN/JOHN “And I need just go on and on, and on, and on.

FREDDIE/ROGER/BRIAN/JOHN “We are the champions, my friends, And we'll keep on fighting 'til the end. We are the champions. We are the champions. No time for losers 'cause we are the champions of the world. (to the crowd) Sing it! Let’s hear you!

And then the CROWD take over, with FREDDIE conducting -

CAMERA picks out INDIVIDUALS - all possible OUTCASTS uplifted by this song - a DIVERSE range of people from all walks of life who for a moment are raised up.

FREDDIE spins, grinning, and looks at BRIAN, who is struck by the dialogue between band and audience that just happened. BRIAN’s expression says he has an idea.

The CROWD roars their love -

FREDDIE turns and faces BRIAN and delivers the next lines straight to him -

BRIAN smiles at his MAGNIFICENT FRIEND.

In the WINGS, angle on:

MARY lovingly watching FREDDIE perform. Her eyes are on FREDDIE (on-stage), but she is holding the HAND of DAVID, her new boyfriend.

DAVID notices how lovingly MARY looks at FREDDIE, and swallows his jealousy.

FREDDIE and BRIAN and ROGER and JOHN all excitedly discuss what just happened, as they undress.

(The DRESSING ROOM is now, unlike before, FULL of people we have never seen before, HANGERS-ON. JIM BEACH is there, and so is PAUL PRENTER.)

MARY enters with her MAN, DAVID.

FREDDIE turns - and looks at DAVID. FREDDIE tries to remember the guy’s name.

FREDDIE kisses MARY, and holds her TIGHT, for a LONG TIME, to the point where it’s embarrassing for MARY and concerning for DAVID.

CONTINUED: (2)

MARY scowls at FREDDIE, then leads DAVID away.

FREDDIE sighs, then looks at his BAND - his BROTHERS, just then towelling off.

Silence, then -

FREDDIE GRINS, then covers his teeth coyly with his hand.

ANGLE ON: THE CROWD in the SOUND STAGE, all clambering up on the DRUM-RISERS.

And all the BAND and the EXTRAS all start to do the famous “BOOM-BOOM-CHA”, as the TAPES RECORD IT.

The IMMENSE CROWD all STAMP and CLAP in time to “WE WILL ROCK YOU”, until the BAND add to it, but they do not replace it - they integrate it.

FREDDIE starts to RECORD the VOCAL, but he is ONE OCTAVE HIGHER than the version we all know - in high FALSETTO.

BRIAN in the RECORDING BOOTH, hits the TANNOY button -

They start again. FREDDIE drops it all down ONE OCTAVE -

FREDDIE looks at BRIAN and ROGER and JOHN who are all giving him now the THUMBS-UP, nodding.

HAIR falls onto the BARBERSHOP FLOOR. In the mirror we see the NEW FREDDIE, short-haired, clean-shaven, and now sporting a MUSTACHE! FREDDIE spins in the BARBERSHOP CHAIR and looks at - PAUL PRENTER, who nods his APPROVAL. FREDDIE GRINS, and then COVERS HIS TEETH with his hand coyly.

Outside the NOTORIOUS CLUB - FREDDIE and PAUL PRENTER look like GAY CLONE TWINS - mustache, short hair, leathers.

They cross the ROAD and PAUL gets FREDDIE entry, straight away.

A WILD PARTY. The DISCO ERA has ARRIVED. FREDDIE, in a corner, SNORTS a HUGE LINE OF COKE...

CAMERA goes into an E.C.U on his face as he whispers -

The DECADENCE in the room is pronounced. And then -

- FREDDIE is presented with a KEY. FREDDIE looks at the KEY, and takes it, and mock bows in thanks.

SHOT OF: a BASEMENT CORRIDOR - the CAMERA tracks in on a DOOR at the far end...one with a LARGE KEY-HOLE...

FREDDIE and PAUL and two other GAY CLONES emerge, HIGH and RAUCOUS. They head off down the street.

We HEAR: as SOUNDTRACK: “I WANT IT ALL”.

BLOODY MEAT CARCASSES are being loaded into REFRIGERATED TRUCKS by burly MEAT-PACKERS.

Six MEAT-PACKERS turn and see FREDDIE and his GANG walking toward them. The MEAT-PACKERS, some with HOOKS, move to cut off FREDDIE’s path as FREDDIE’s GANG stop before them.

But FREDDIE, high as a kite, refuses to be dragged away by PAUL. A fight seems inevitable.

PRENTER pulls FREDDIE away and he and the CLONES beat it- FREDDIE, laughing, flying...

BRIAN, in his BOXER SHORTS and T-SHIRTS, EAR-PLUGS inserted, carrying a BUCKET OF ICE, unable to sleep because of the PARTY MUSIC leaking from other rooms, walks down the HALL, returning to his room. When he turns the T-junction corner, he looks left and right - to the left, down the hall, he sees ROGER sneaking TWO WOMEN into his room - and to the right, down the hall, he sees FREDDIE leading PAUL PRENTER and the TWO GAY CLONES into his room.

BRIAN stands at the door of his room, looking for his door KEY, reflecting on what he has seen, when he see FREDDIE waving at him, leaning out of his room. BRIAN takes out his EAR-PLUGS -

BRIAN considers it - SHOULD HE JOIN HIS FRIEND? - but he finally declines, smiling as he shakes his head. BRIAN enters his hotel room instead.

BRIAN enters and the room is empty. He stands there and listens to the sound of TWO PARTIES coming through the walls...Audible is the sound of Queen’s “FAT BOTTOMED GIRLS”...

The BAND record the VIDEO for...”ANOTHER ONE BITES THE DUST”...FREDDIE in FULL GAY CLONE LOOK for this video... camping it up, strutting around in a bright yellow tank top and shorts with a baseball cap that has bull horns coming out of it!

A TAXI pulls up and MARY gets out, WORRIED. She looks for FREDDIE who is hiding in the shadows across the road. She goes to him. He is sporting his CLONE LOOK.

MARY walks off, looking for a new CAB. FREDDIE chases her and catches her.

This infuriates her further.

She regards him, with sympathy - and then softens.

FREDDIE and MARY sit at the BAR, on stools. The room is full of GAY MEN, MARY is the only woman. FREDDIE keeps his CAP on, hiding his identity, as he waits to be picked up.

They laugh -

As FREDDIE turns and looks around the room for CANDIDATES...a STOCKY IRISHMAN with a MUSTACHE (JIM HUTTON) comes to the bar, stands beside MARY. Their eyes meet -

FREDDIE turns - FREDDIE and JIM look at each other -

MARY- shocked - turns to FREDDIE -

FREDDIE is startled to be spoken to like this -

CONTINUED: (2)

MARY kisses FREDDIE on the cheek -

MARY leaves the bar.

As the CREW prepare to record the VIDEO -

- FREDDIE sits in the MAKE-UP CHAIR, dressed in FULL DRAG and WIG: false NAILS, LASHES, BREASTS, SWEATER, MINI- SKIRT, LIP-STICK and MUSTACHE !!!

PAUL PRENTER lights a cigarette for FREDDIE, and holds it to FREDDIE’s lips so the SUPER-STAR doesn’t have to muss up his false nails, which are just then drying.

FREDDIE doesn’t dismiss this...

FREDDIE looks tempted, but then, grabs the CIG, and looks at his “BROTHERS.”

CONTINUED: (2)

QUEEN, dressed IN DRAG, record “I WANT TO BREAK FREE”. All the guys in WIGS, FALSE BREASTS, DRESSES, the works...until...the image FREEZE-FRAMES. Over this stamp a BANNER that reads:

“BANNED!”

FREDDIE and PAUL PRENTER and JIM BEACH walk toward an OFFICE DOOR...and as they do, the sound of MICHAEL JACKSON’s “THRILLER” gets louder and louder.

When a smiling SECRETARY opens the OFFICE door for them, they sweep in to meet...

...WALTER YETNIKOFF, who rises from his chair to greet them.

“THRILLER” is blaring from his Hi-Fi until his FINGER stops the TAPE-DECK - CLUNK!

FREDDIE and JIM BEACH and PRENTER face YETNIKOFF (a small man with all of Manhattan behind him, who cuts hard SALAMI at his desk with a sharp knife that he routinely points at people.)

FREDDIE looks around before he sits - it’s a SHRINE to MICHAEL JACKSON - FULL-SIZE CUT-OUTS of MJ, a POSTER-SIZED PHOTO of MJ and YETNIKOFF, MJ MEMORABILIA, DOLLS and other MERCHANDISING, etc - a huge INDUSTRY spawned by one artist!

FREDDIE makes a little “SNORING” noise.

FREDDIE does a little MOON-WALK and then an MJ SPIN, and then sits, staring at YETNIKOFF.

YETNIKOFF offers them a piece of SALAMI on the end of his knife... All shake their heads.

CONTINUED: (2)

YETNIKOFF stares at FREDDIE - eats the SALAMI himself.

FREDDIE turns on a PORTABLE TAPE DECK. We hear the sound of MONTSERAT CABALLE, the great diva, singing. FREDDIE turns it off.

PRENTER and JIM BEACH shake their heads.

YETNIKOFF is not amused. Points his knife at REID -

CONTINUED: (3)

YETNIKOFF passes JIM BEACH a deal memo. JIM BEACH reads it...then looks at FREDDIE and PRENTER, who wait for PRENTER to speak...

FREDDIE is writing “I WAS BORN TO LOVE YOU” alone, on his PIANO...

PAUL PRENTER, enters -

ROGER, BRIAN and JOHN then all burst in together, angry and hurt -

The BAND stares at FREDDIE in shock -

But FREDDIE has turned back to the piano and resumed playing “I WAS BORN TO LOVE YOU” -

- ROGER, insulted, sweeps FREDDIE’s SONG NOTATION PAPERS onto the floor. FREDDIE glares at him.

CONTINUED: (2)

ROGER, BRIAN and JOHN glare at PAUL.

CONTINUED: (3)

PAUL picks up the fallen PAPERS, as FREDDIE lights a cigarette.

As FREDDIE smokes, looking at his BAND-MATES, egotistically brushing this off...

FREDDIE watches, with PAUL PRENTER, a German-language production of “THE RING CYCLE” by WAGNER, a SCENE of TREACHERY and BETRAYAL.

The ORCHESTRA rises to a CLIMAX. The CONDUCTOR urges his players on...

ANGLE ON: FREDDIE, rapt, spell-bound -

FREDDIE tries to write songs - and to inspire him he knocks back vodkas.

PAUL PRENTER on the phone to someone -

MARY puts down the phone - upset, as her BOYFRIEND, DAVE enters with FLOWERS. She tries to smile as he kisses her.

FREDDIE, looking TIRED, rises from his COMPOSITIONS and goes to a silver case on the sideboard and scoops COCAINE onto the glass surface.

FREDDIE knocks back VODKAS with PAUL PRENTER and several NEW FACES - shouting over the LOUD MUSIC...

The MUSIC in the CLUB is DANCE/DISCO, heavy on synthesizers - far from the Queen sound.

FREDDIE’s new session band stands around waiting to be told what to play - Fred Mandel, Paul Vincent, Curt Cress, Stephan Wissnet...but FREDDIE is drunk.

He turns to MAC, the GERMAN ENGINEER/PRODUCER - in the CONTROL ROOM.

The BAND all pull on their CANS and go again - the DISCO- ORIENTED intro to “LIVING ON MY OWN.”

FREDDIE, taking time out, COUGHING and drinking VODKA and SMOKING to sooth his throat, while the BAND records.

FREDDIE tries to write lyrics in the studio, alone -

But FREDDIE just keeps working.

THE CONTROL ROOM. FREDDIE works with MAC, producing the track -

FREDDIE records his lead vocal - (We don’t hear the backing track)

He starts to COUGH. He grabs a napkin. He coughs up BLOOD.

To the SOUND of the DISCO BACKING TRACK (minus VOCALS) of “Living On My Own”, we cut to -

A PARTY at FREDDIE’s FLAT. PAUL PRENTER and a coterie of THEATRICAL HANGERS-ON party like there’s no tomorrow.

PAUL then gets a call on the TELEPHONE - he goes to it.

PAUL PRENTER’s POV of FREDDIE, partying -

JIM HUTTON on a PAY-PHONE, sets down the receiver, disappointed.

PAUL leads a GROUPIE into a BACK-ROOM, where -

- FIVE RECORD EXECUTIVES are in conversation.

The GROUPIE goes up to the first one and gets on her knees.

The PARTY is winding down. While some of the REVELLERS now sleep in each others arms, entwined -

- FREDDIE, drunk and high, tries to WRITE LYRICS and compose a new song - getting nowhere.

He stops and picks up a candle and goes to inspect the SLEEPING REVELLERS.

Down the HALLWAY comes the GROUPIE, pulling on her coat.

FREDDIE winks at her, and gives a sad little smile, before she leaves. He looks tired and unhappy.

Up with - as SOUNDTRACK - the dark orchestral STRING SECTION from the opening bars of “MR BAD GUY” -

JIM BEACH, on the phone -

On JIM’s desk is a FLIER for “LIVE AID”.

PAUL PRENTER, on the phone -

PAUL PRENTER’s POV of - FREDDIE, alone in the RECORDING STUDIO, feverishly trying to write music...

ROGER looks in the window of a RECORD STORE. “MR BAD GUY”, FREDDIE’S solo album, is on sale, price already reduced.

1985. YOUNG BRIAN watches the TV - a news item on ROCK HUDSON’s DECLINE...EMACIATED, clearly DYING of AIDS...

The CAMERA TRACKS IN on a BASEMENT DOOR...

The BLOGGER nods -

CAMERA moves around the empty room, full of QUEEN’s MUSICAL EQUIPMENT, but no BAND....no MUSIC...end on the RED SPECIAL, in its stand - idle, silent...

He turns away upset...unable to continue...

UP WITH THE DARK, OMINOUS, opening bars of “The Golden Boy”

FREDDIE and MONSERAT CABALLE sing their duet -

FREDDIE steps aside, and subdues a cough, as -

PRENTER approaches FREDDIE during a break...

PRENTER walks off - pleased with the result.

The DOORBELL sounds. FREDDIE (drunk, high and looking worn out) goes to it, and opens the door.

It’s MARY! Her shoulders are coated in SNOW. She carries a SUITCASE.

They stare at each other. His face then breaks into a broad grin.

He let’s her in. She sees that the ROOM has been the VENUE for a PARTY of some size.

FREDDIE clears away a few bottles and party detritus - FEMALE and MALE clothing items (a feather boa, a carnival mask, a top hat, a mirror with residue of coke still on it) -

He does look unwell -

MARY looks at the PIANO, which is coated in MANUSCRIPT and LYRIC PAPERS, CHAMPAGNE BOTTLES, half-filled glasses.

MARY raises an eye-brow -

CONTINUED: (2)

She can’t resist him - she drops her resistance -

He goes to her and holds her.

He breaks from her and runs off into another room -

MARY, wearing EARPHONES, listens to the first tracks off “BARCELONA”. (We can’t hear what she’s hearing) She looks at him, as he paces.

She takes off the HEAD-PHONES, we dimly hear “Barcelona”

She puts on the head-phones again, and listens, showing no emotion, and CLOSES HER EYES, concentrating -

FREDDIE and MONSERAT CABALLE sings the opening of “Barcelona” -

- MARY takes off the HEADPHONES. Silence. She SMILES.

He grabs her SUITCASE and carries it into a SPARE BEDROOM and then re-appears. She still looks uncertain -

She melts -

He kneels at her feet, holds her hands -

She smiles. He smiles too, freely, not covering his teeth.

He goes to the piano, while she sits on the LOUIS XIV CHAISE LONGUE.

He resumes work on a new song -

FREDDIE starts to read the music of “ENSUENO”, and we hear both PIANO and VOCALS on the SOUNDTRACK as he reads -

We hear MONSERAT’s voice come in...Over her lines Freddie mutters -

CONTINUED: (2)

- and then POUNDING on the DOOR. FREDDIE stops.

FREDDIE opens the door, and PAUL PRENTER and the REVELLERS (MEN and WOMEN) all push into FREDDIE’s FLAT.

PAUL goes to MARY and kisses her on the cheek.

MARY starts to put on her COAT, making to leave again -

PAUL herds the REVELLERS out and shuts the door.

FREDDIE looks at MARY to see if she’s happy now -

CONTINUED: (3)

FREDDIE looks at PAUL - but can’t say the words - so MARY steps up and confronts PAUL herself -

MARY looks at FREDDIE to say something -

MARY goes to the BEDROOM.

CONTINUED: (4)

MARY comes out of the BEDROOM with her suitcase, and goes to the door.

The door slams. MARY is gone. FREDDIE looks at PAUL.

FREDDIE goes to the window to see -

- MARY walking off, through the VIRGIN SNOW, with her SUITCASE.

FREDDIE grabs his coat -

CONTINUED: (5)

FREDDIE’s face is only inches from PRENTERS now...

FREDDIE now runs out the door...

MARY gets on a TRAM and the TRAM pulls away, revealing - FREDDIE, slipping and sliding through the snow.

He can only watch as the TRAM pulls away. Up with MUSIC: as SOUNTRACK: “THE SHOW MUST GO ON”...

FREDDIE, alone now, at rock bottom, tries to work but cannot. He paces. He goes to a GLASS COFFEE TABLE and spoons some COKE onto the GLASS, and BEGINS to CUT a HUGE LINE...He SNORTS it all. But it only makes him more JITTERY...

On the EDGE of the GLASS TABLE he nervously begins to play PHANTOM PIANO...but then - for the first time - STOPS HIMSELF, looks at his tense fingers, forms a fist, and resists this nervous tic.

FREDDIE is watching the GERMAN TV...when he sees his FACE on the SCREEN...

It’s a NEWS-REPORT (In GERMAN) about him...PICTURES of MEN, FREDDIE doing DRUGS, PARTY SHOTS...before the NEWS-STORY cuts to -

- PAUL PRENTER, being interviewed (We clearly hear HIS ENGLISH playing under the GERMAN TRANSLATION)...

FREDDIE rubs his eyes - is this an HALLUCINATION?

Cut back and forth between FREDDIE’s perspiring face and SOUND-BITES of the PRENTER interview -

The item ends. FREDDIE gets up and starts to roam the room - and then he starts SMASHING THINGS, all his priceless ANTIQUES, all his acquisitions - finally even driving his KNEE into the TV (which fails to break the TV SCREEN, only making it fall over) which INJURES his KNEE. He SHOUTS in PAIN and then falls back on the FLOOR, among the ruins...gripping his DAMAGED KNEE...

...and here, after staring at the chandeliers above, he rolls onto his side and sees a LAST PILE of COCAINE, lying on broken glass. He LICKS his fingers and gathers up the COCAINE and puts it into his MOUTH.

He then lies there on the carpet, on his face...running his FINGERS through his GREASY HAIR, before his FINGERS then play PHANTOM PIANO on his chest, muttering some MELODY...

CONTINUED: (2)

DAYS LATER. FREDDIE sitting on a chair, NAKED under a SHEET WRAPPED AROUND HIM, in a terrible, unshaven state. He gets up and crosses the room. On the PIANO lies a CD of “MR BAD BUY” - he looks at the CD, then throws it across the room...

JIM BEACH picks up the phone.

FREDDIE cradles the phone - nervous, playing PHANTOM PIANO, humble now...

FREDDIE lights a cigarette -

MUSIC UP: “UNDER PRESSURE” by FREDDIE MERCURY/DAVID BOWIE.

FREDDIE’s LIMO arrives in the ALPINE RESORT - JIM BEACH is waiting for him. FREDDIE is LIMPING, as a result of his KNEE INJURY. They shake hands.

JIM indicates FOUR OTHER LIMOUSINES. JIM and FREDDIE enter the hotel.

FREDDIE and JIM wait in a room. FREDDIE is pacing, limping, nervously. We haven’t seen him like this.

JIM BEACH exits.

JOHN and ROGER and BRIAN sit in a LARGE SUITE. JIM BEACH enters...

JOHN and ROGER and BRIAN look at each other -

No-one moves.

FREDDIE can’t stand the pressure - he paces, until JIM BEACH enters.

The entire BAND and JIM BEACH face each other. A brittle silence...

They all stare at him -

FREDDIE, surprised, does so. The door closes.

CONTINUED: (2)

After a long silence, the BAND nod. FREDDIE re-enters.

JIM lights a cigarette -

CONTINUED: (3)

They look at each other - lots of shrugs, uncertainty, fear...

FREDDIE grins and covers his teeth with his hand.

QUEEN rehearse for LIVE AID.

The BAND begin to PLAY “HAMMER TO FALL” - but they are too RUSTY, and only play a few BARS before they have to stop.

JIM BEACH steps forward.

The band gulp and nod. Silence, then -

They START to PLAY again...

FREDDIE takes a smoke-break. JIM BEACH approaches with a piece of paper.

FREDDIE reads it. He looks up at JIM BEACH, troubled.

CONTINUED: (2)

UP WITH: “WHO WANTS TO LIVE FOREVER”...

FREDDIE and JIM BEACH are led up a CORRIDOR by a NURSE. They stop outside a PRIVATE ROOM.

The NURSE walks away. FREDDIE prepares himself, then pushes open the door and enters.

PLAY on FREDDIE’s face and emotions as he approaches a bed where a MAN (JOE BASTIN, his former lover) lies in a COMA.

FREDDIE breathes deeply.

He sits and, finally touches JOE’s hand.

CLOSE ON: JOE BASTIN, the last phase of HIV/AIDS. Skin and bone. A woolen cap on his head. Breathing assisted by tubes to his nose.

FREDDIE has tears falling from his eyes. He leans in and kisses JOE’s head, then rises and leaves the room.

FREDDIE washes his HANDS thoroughly...then pauses to EXAMINE his ARMS, turning them over, looking for possible LESIONS, of which he finds none.

(On another day) - FREDDIE, wearing sunglasses, cap, waits nervously, beside JIM HUTTON (on one side) and a YOUNG HIV MAN (on the other).

FREDDIE looks at the YOUNG HIV MAN, gives a quick smile, then LOWERS his CAP over his eyes and adjusts his SUNGLASSES, fearful of being recognised. Silence, until -

- NURSE 2 appears...

JIM taps FREDDIE on the knee supportively, then FREDDIE follows the NURSE, until -

FREDDIE turns, the YOUNG HIV MAN is looking at him...

FREDDIE enters the SURGERY, the door closes behind him.

FREDDIE emerges - stay on his face as he processes the news...hard to tell what he’s thinking, feeling...

For their 2nd “LIVE AID” rehearsal, the BAND are now rehearsing “CRAZY LITTLE THING CALLED LOVE” and really rocking it now. They have gelled again, but...

FREDDIE is off, troubled, in poor voice, weak...

BRIAN and ROGER and JOHN all notice and look at each other, wondering what is up with FREDDIE?

MONTAGE (LIVE AID):

A) VAST CROWDS make their way toward WEMBLEY STADIUM.

CAPTION: “JULY 13, 1985”

B) The GATES into WEMBLEY STADIUM are opened.

C) Inside WEMBLEY STADIUM the first audience members pour into the GIANT EMPTY SPACE, heading for the STAGE, staking out their turf.

D) LIMOUSINES disgorging ROCK-STARS.

E) The STADIUM is now full, and HUMMING.

F) BACKSTAGE, POP-STARS all talking to each other.

G) BACKSTAGE, BOB GELDOFF, on the PHONE,

FREDDIE sits at his BREAKFAST table, staring out the window at his beautiful garden...where JIM HUTTON tends the FLOWERS.

MARY enters - PREGNANT - bringing a steaming cup.

He touches her PREGNANT belly -

She smiles, and makes him take another SIP of lemon water.

FREDDIE tries to SIP the LEMON DRINK but he winces in pain.

MARY turns on the TV set.

The PICTURE shows...the waiting WEMBLEY CROWD...

FREDDIE emerges and walks up the street, wearing CAP and SUNGLASSES and a LARGE COAT. A lonely man.

When the SUN falls on him, he stops, turns his face toward the healing sun, closing his eyes, trying to make sense of everything...

He then looks around him, up and down the street. WHERE THE HELL IS EVERYONE? The streets of London are empty!

Suddenly - the ROAR OF A CROWD. Where is it coming from? ELECTRIC GUITARS then augment the ROAR...

FREDDIE looks around, and realises that the sound is coming from OPEN WINDOWS...

...and then from the sole PASSING CAR, which is playing the SAME ROCK MUSIC (the telecast/broadcast from LIVE AID)...

FREDDIE goes to investigate...advances up the front steps of the nearest HOUSE...Reaching the top step he sees in the OPEN WINDOW to a FAMILY - gathered around their TV - (as STATUS QUO plays “Rockin’ All Over The World.”)

CLOSE ON: FREDDIE’s POV of the FAMILY...

REACTION FREDDIE: Stirred, reminded - by this tableau - of music’s capacity to connect us all.

STATUS QUO are playing “Rockin’ All Over The World.”

But the lead singer - FRANCIS ROSSI -calls to his soundman -

MUSIC UP: “THE SHOW MUST GO ON”...(the pulsing INTRO)...bleed in the sound of CHOPPER ROTOR-BLADES...

MONTAGE

A) A HELICOPTER flies over LONDON...SWOOPING MAJESTICALLY around the SKY-SCRAPERS, over the beautiful city...toward...WEMBLEY STADIUM...

B) INSIDE the HELICOPTER: FREDDIE closes his eyes, his hand protectively massaging his THROAT, clearly in discomfort.

ANGLE ON: MARY & JIM HUTTON looking at FREDDIE, concerned.

C) The HELICOPTER lands at WEMBLEY and FREDDIE MERCURY disembarks...

CONCERT MIXING BOARD - SEVERAL SWITCHES on the MIXING DESK have the tape over the TOP PARTS of the VOLUME SLIDERS.

As the BAND gets ready...a DOCTOR prepares a HUGE NEEDLE, seriously HUGE, and goes to FREDDIE with the SYRINGE -

The DOCTOR looks at JIM BEACH, who shrugs, and accepts FREDDIE’s decision. As the DOCTOR exits...

While JIM BEACH pulls out cigarettes, MARY pours a VODKA, while JIM HUTTON fixes FREDDIE’s HAIR.

JIM BEACH steps up, and holds out a CIGARETTE for FREDDIE to smoke from it as JIM holds it - but this is a new FREDDIE and, seated at his MIRROR, he takes the CIGARETTE - he will do it himself.

MARY passes FREDDIE a glass of VODKA.

FREDDIE downs the VODKA, stands up, gargles it for a few seconds...

FREDDIE looks at MARY, who angles her face to be kissed ON THE LIPS...but FREDDIE (significantly) KISSES HER ON THE FOREHEAD FOR SAFETY SAKE! (confirming he is HIV positive.)

FREDDIE then continues his vocal warm ups, bouncing up and down on his feet -

JIM HUTTON steps up and gives FREDDIE’s hair one last blast of HAIR-SPRAY, and then FREDDIE and JIM KISS each other ON THE LIPS for good luck...(the diagnosis of Aids comes too late to change anything for them.)

ROGER then comes and joins FREDDIE. Now they are both bouncing up and down on their feet...ROGER slaps FREDDIE’s butt, and FREDDIE slaps it back... Then JOHN joins them. Three of them now bouncing...

CONTINUED: (2)

ANGLE ON: BRIAN, watching, smiling, moved. He goes to join them. They link arms - brothers again - and bounce and vocally warm-up together.

The QUEEN SOUNDMAN wearing a QUEEN T-SHIRT comes behind the MIXING BOARD, looking shifty...

FREDDIE leads the BAND past the other POP-STARS toward the stage, where there is a growing ROAR from the crowd. The other POP-STARS clap QUEEN on the backs, wishing them well.

They are stopped, by the STAGE MANAGER, who is waiting for the CUE-CALL. The BAND are NERVOUS as hell, and it shows...they form a CIRCLE. No one speaks. Until -

They shoot JOHN a look, then laugh - tension broken.

FREDDIE holds out his FIST. The band BUMP FISTS, as-

FREDDIE walks to one WING (stage left) and the band walk to the other WING (stage right) and wait -

CLOSE ON: FREDDIE, and then his POV (across the stage) of: his FRIENDS, his buddies - he is enormously proud of them in this moment.

They look at each other, all NERVOUS. They nod to each other...ROGER, BRIAN, JOHN, FREDDIE.

And then we hear the announcement of QUEEN -

As QUEEN start to move, we CUT THE SOUND-TRACK - TOTAL SILENCE, as -

- QUEEN take the stage to a wildly gesturing (BUT SOUNDTRACK-MUTED) CROWD....

OLDER BRIAN has his HEAD in his HAND, as if recalling a DISASTER...but then he raises his head and we see -

- a small SMILE forming on his face. He is recalling, in fact, a time of TRIUMPH!

In SLO-MO....When the MIXER turns his back, the QUEEN SOUNDMAN pulls off the TAPE limiting the VOLUME and pushes the VOLUME SLIDERS way up toTEN!...

As he does so -

- the CAMERA (an AERIAL/ F/X SHOT) swoops down from on high, (as the SOUND of the CROWD becomes audible at last, RISING in volume.) The CAMERA rushes toward WEMBLEY STADIUM, then flies into the stadium, then flies inches over the heads of the vast audience, gliding like an eagle, toward the stage where a MAN just now walks out onto centre stage -

- FREDDIE MERCURY, rock-star.

SOUND of the crowd reaches full (HUGE) VOLUME now - as -

- FREDDIE greets the crowd, then sits at his PIANO and starts to play...”BOHEMIAN RHAPSODY.”

The crowd go crazy, and when he starts to sing the crowd sing along with him and wave their hands...

So begins the greatest live set that QUEEN, or anyone else, ever performed.

MARY and JIM HUTTON watch from the wings, as we -

- the end of “BOHEMIAN RHAPSODY”....FREDDIE grabs his ICONIC WAND (his half-mic stand and mic) and struts his stuff as the band kick into “RADIO GAGA.”

He soon has the entire crowd participating in the famous HAND-CLAP chorus...

The other POP STARS backstage realise something unique is happening and the gravitate to the wings.

FREDDIE is now finishing “GAGA”, the audience is going wild!

He then involves the crowd:

REACTION BRIAN: Admiration for Freddie.

So begins FRED’s “DAY-O” DIALOGUE with the crowd...ending in - a virtuoso DAY-O climax, no hint now of the fragile voice of backstage -

QUEEN launch into the intro of “WE WILL ROCK YOU!”. With ROGER smashing the DRUM/CLAP intro “BOOM-BOOM-CHA”, FREDDIE prompts the crowds to join the STAMP/HAND-CLAP INTRO...”BOOM-BOOM-CHA”...

CLOSE ON: PLASTIC CUPS of BEER and WATER (on top of the on- stage PIANO, left by previous performers) as - the WATER and BEER JUMPS with every CONCUSSIVE BEAT of the collective DRUM-BEAT (as if the approach of a Jurassic giant!) - the sound is that HUGE.

The BULSARA FAMILY DRUM and CLAP to the intro of “WE WILL ROCK YOU” as they watch, delighted, FREDDIE on TV, conducting 100,000 ecstatic people...

BRIAN’s FATHER, HAROLD, watches the event on the TV, admiringly...

PAUL PRENTER watches, somberly, the bar’s TV while the other GAY CLIENTELE all cheer on FREDDIE’s performance.

YETNIKOFF watches a TV, smoking a cigar, sharing an aside with FINANCIAL OFFICER -

WIDE: HERO SHOT of the outside of the ENTIRE STADIUM...as DUST rises like smoke inside, caused by 100,000 people stamping their feet on dry dirt - BOOM-BOOM-CHA!...

PEDESTRIANS have frozen in their tracks, and stare skyward, able to hear the BOOM-BOOM-CHA in the very air, wondering where in hell it’s coming from... ANGLE ON: a STORE’s PLATE GLASS WINDOW, vibrating to the BOOM-BOOM-CHA!...

2 DOZEN CAR ALARMS, (on the newest cars only) have gone off, activated by this crowd-made EARTH-TREMOR...

A CHAINED DOG, hearing the far-off BOOM-BOOM-CHA, strains against his chain and BARKS/HOWLS.

With the fuse lit, BRIAN blows the entire thing sky-high by launching into the famous POWER CHORDS of the INTRO, accompanied by ROGER and JOHN. The effect is orgasmic - the crowd ROARS!

FREDDIE, now at PIANO, comes in with the SOLO PIANO intro of “WE ARE THE CHAMPIONS”

JOHN comes in on BASS -

BRIAN, fuelled with ADDED EMOTION, kicks in -as does ROGER -

FREDDIE on solo piano again - singing, intimately now - with the AUDIENCE singing along with him -

The CROWD roar!

On the thunderous climactic chord - FREDDIE closes his EYES, chin raised, as if in prayer, then lowers his head, and opens his eyes - SMILING, EMOTIONAL, MOVED...

CUT TO BLACK:

BRIAN hands the BLOGGER back his TAPE-RECORDER that long since stopped recording.

BRIAN crosses the ROOM to the FIRE-ESCAPE DOORS and throws them opens - NATURAL LIGHT FLOODS IN! Outside... SUNRISE... COUNTRY FIELDS...

CONTINUED: (2)

BRIAN considers answering, then goes to his BOOK-CASE and takes out an enormous ATLAS.

BRIAN now pushes the BLOGGER out of the room, and shuts the DOORS. He goes to a shelf and takes down a bottle of BOURBON...

The BLOGGER, opens BRIAN’s LARGE ATLAS (on the passenger seat) at the INDEX...looking for something...

BRIAN, on his SMART-PHONE, swipes through QUEEN ALBUM COVERS, and then selects “INNUENDO”. As he taps the screen we hear - (bluetoothed to a SPEAKER) FREDDIE’s voice, singing - “THESE ARE THE DAYS OF OUR LIVES”...

As he listens, BRIAN, pours a BOURBON, and looks out the OPEN DOORS...into the garden and countryside...

CROWDS of FANS mourn FREDDIE’s death, leave gifts and flowers for FREDDIE, light votive candles...PHOTOS of FREDDIE and of QUEEN. Over this...

The BLOGGER goes to the page he wants in the ATLAS, and then leans in, staring at the VERY LARGE PLATE...and then his EXPRESSION changes--he has seen something--exactly what he’s looking for...

A BUCK-TOOTHED TEN-YEAR-OLD INDIAN BOY, FARROKH BULSARA, in sandals and shorts and short-sleeved shirt, runs and plays in the alleys, full of simple joy, in the springtime of his life, his whole life before him...

CLOSE ON: A PLATE in the LARGE ATLAS...CAMERA shows “ZANZIBAR” and then moves and tightens on a small town... ... ”BISMILLAH”

Young FARROKH BULSARA, stands alone at a RAIL on the deck of a SHIP, as it enters LIVERPOOL - a MIGRANT arriving in a new land...

BRIAN looks out the OPEN DOORS - sunlight falling on him...

And then, as if directly to BRIAN himself -

CUT TO BLACK:

RUN END CREDITS.

Over this: roll FOOTAGE of the REAL FREDDIE MERCURY and QUEEN, from the video of “DON’T STOP ME NOW” - an uplifting and emotional performance of Freddie’s ode to joy.