Why does no one give me a million pound budget for a Stargate LRP TV show?

[annwfyn]

AJ Heaton nee Foley - played by Rose Leslie

Hicks - played by Colin Farrell

Kaplan - played by Oded Fehr

Cosmo - played by Helena Bonham Carter

Spike Heaton - played by Philip Oliver (with his shirt on)


(I can't make actual youtube videos so I just design them in my head instead. This is the fanvid about my poor angsty Stargate character that I would make if I could)

Song is Brother in Arms by Dire Straits. Video can be found here. 

Soundtrack	Visuals
[Opening instrumentals]	The camera fades in, resting on a place that hardly anyone would recognize now – Ragis. The city below is crooked and broken, with a great golden palace rising up behind it. Slowly the camera pans across the scene, following the wind as it blows through the tree tops.
These mist covered mountains	The camera moves down. Hicks and Foley are beneath a tree, by a broken wall. Foley is kneeling on the ground, bending over a large sheet on paper on which various plans are sketched out. She is wearing her old olive drab combats, torn and battered, with her corporal tabs barely there. Hicks is perched on a fallen tree trunk, overseeing. His face is burnt and scarred, again, but they both seem relaxed at happy. He smiles and points somewhere on the paper, mocking Foley affectionately. She looks up, laughing, wind blowing her hair across her face. The camera pans up, away from them, up into the blue sky.
Are a home now for me	The camera keeps moving up, further, through the blue and into the gleaming black of space. Now we are in a star field, watching as a great silver spaceship slides through the void.
But my home is the lowlands	The camera pans in to one of the windows of the space ship. Now Foley is standing there, arms crossed. She is in her flight suit, flight lieutenant’s tabs instead of corporal, and her hair is now dyed dark brown instead of cheerful ginger. Her face is serious as she gazes into the dark.
And always will be	She turns and walks away, leaving Ragis behind.
Someday you'll return to	The camera fades back. The tree and broken wall is still there, but now the schematics have been left unattended, and as we watch, the wind catches them, and sends them tumbling – paper blowing on the wind.
Your valleys and your farms	The camera tracks the paper as it blows along, past ruins and patched together walk ways. In the distance, just out of focus, a stargate comes into view.
And you'll no longer burn	The camera pans up. Now there are three people standing there – Hicks and Foley (again with red hair and in olive drab) and Richard Heaton.
To be brothers in arms	They turn and walk through the Stargate. There is a whoosh and then they are gone from Ragis.
[Instrumental]	The camera cuts to a montage of the SEF in combat. They run through a stargate – Hicks, Foley, Hardy, Ren, Alba, and Cosmo. Jaffa open fire with their staff weapons, and the soldiers move to lay down returning fire. There are a few seconds of intense combat, and then a single shot from a Jaffa staff weapon, seems to fill the screen with gleaming white light.
Through these fields of destruction	Now the camera is focusing on Cosmo – red hair, leather jacket. She is walking, carefully, through a plain of black ooze, holding some kind of tricorder, taking readings.
Baptisms of fire	She looks up, slightly worried, to track Hicks walking ahead of her. His face is no longer scarred, but he looks focused and grim.
I've witnessed your suffering	She walks towards him, and lays a hand on his arm. For a moment, his expression softens.
As the battle raged higher	The camera zooms in on their faces, as they meet eyes and look at each other, calmer for a while now in each other’s presence.
And though they did hurt me so bad	The camera now cuts to Foley, standing on a beach in front of a fire, barefoot, wearing faded black combats and a loose black t shirt. She’s standing before Spike, who is also barefoot, both tense and poised, looking as if they are on the edge of a flaming argument. Foley is holding a burnt book in her hands.
In the fear and alarm	The camera spins round as they gaze at each other, tension and uncertainty high.
You did not desert me	Then Foley very cautiously lifts up the burnt book to Spike. He lifts a hand to touch her face.
My brothers in arms	Slow fade out.
[Instrumental]	The camera cuts to a new montage. The Stargate opens and the same group come through. This time, Hardy falls as the Jaffa open fire. The camera pans across, catching the other soldiers’ look of horror. Ren screams, and drops to her knees, falling as well, and then the camera pans across to Alba, who gazes on the scene with horror and then seems to melt away. There is a slow transition – fade in and out – and then the place is the same, stargate, landscape – but the Jaffa have gone, and now it’s Foley, Cosmo and Hicks standing in a semi-circle, all looking a bit lost and bereaved. The camera slowly pans around the three of them, as the wind blows through their hair.
There's so many different worlds	The camera fades to Foley again, walking. This is the older Foley now – dark hair and officer tags – walking. In the background, the world seems to shift around her – the broken walls of Ragis turn to black ichor, then the world fades to the glorious backdrop of Saltris, then the shining silver corridors of Titan, and then the deserts of Palmyra.
So many different suns	As she climbs a Palmyran slope, she turns around as if she has heard someone calling, and smiles at the sight of Spike, now in a captain’s uniform.
And we have just one world	Foley holds out her hand to him, but there seems to be a wind picking her, blowing through her hair at speed now. Her expression shifts from welcome to alarm, and then a shout of horror.
But we live in different ones	The camera tracks down the length of Foley’s arm to see Spike, startled, apparently being punched away by an unseen force into some kind of twisting shimmering wormhole. It cuts back to his wife’s screaming rage as he is taken. She falls to her knees as the scene fades out.
[Extended instrumental]	Cut to the Empire of the Sun. Hicks is walking out of a room. He nods to Murphy. For a moment, he looks across the room and looks at Cosmo. His eyes linger on her and then he walks out into the night. He lifts his face upwards and closes his eyes for a moment as cherry blossoms blow across his skin, and then walks into the dark. He isn’t lost to the dark. Rather he fades to nothingness.
Now the sun's gone to hell and	Cut to the last SEF deployment – a makeshift camp on a windswept mountain. Cosmo is lying huddled on the ground, with an empty pill bottle and a bottle of whisky lying on the ground beside her. The camera tracks up to see Foley’s expression of horror as she sees Cosmo and starts to run towards her.
The moon's riding high	The camera pans into the shadows, where someone who looks like Hicks is watching. His expression, however, is totally changed and there is a faint gleam of a satisfied smile on his face as he watches the scene. As he turns to walk away, there is the sweep of some kind of robe.
Let me bid you farewell	Cut to a man who looks like Spike, wearing sunglasses. He smirks as well, and tries to stand, but is pushed brutally against the wall by someone’s arm. The camera pulls back to show he is being restrained by a grim faced Kaplan.
Every man has to die	The camera moves around again to rest on the expressionless face of the alternate Spike as Kaplan removes the other’s sunglasses. Now you can see that this Spike’s eyes are all black and filled with stars. It’s alien and unsettling. The camera lingers on this for an instant before it cuts away.
But it's written in the starlight	Cut to AJ and Cosmo kneeling on some kind of silver platform. It’s the deck of the Alba – the ship. Cosmo is wearing some kind of loose white gown – maybe a hospital gown. As the camera moves around them, the Alba fades out to a hospital room. Cosmo is in the bed, AJ sitting on the side of the bed. Cosmo looks up at AJ and smiles, with an expression of peace now on her face.
And every line in your palm	The two women clasp hands.
We are fools to make war	The camera cuts to AJ once again. Now she is back on Ragis, standing on that same spot where she and Hicks once made plans. Her expression is contemplative, and sorrowful. There is a small child standing next to her, looking up at Foley. The soldier looks down at her daughter and lays a hand on her shoulder and nods, before they turn to walk away.
On our brothers in arms
	The camera lingers on Ragis, on the broken walls and patched together roadways. And as it lingers, a sheet of paper blows past. It is one of the schematics that Hicks and Foley drew to protect and repair this place, a long time ago.