I let the guys from red letter media write the script and then let Eli Roth direct it.

I don’t know if it was an idea that came up during the Dark Fate production when they drafted a bunch of sci-fi writers in (I made some notes) but I’d do something that plays with all the films and the nature of time travel. Because travelling back in time doesn’t change the future, it creates a different timeline, so the Terminator films (and possible) futures all exist on a continually branching framework and, after each jump back, they thwart one AI’s plans but it seems like AIs are almost inevitable, so you just change track to another grim future. So the characters finally realise this and devise a way to jump between timelines, bring together different versions to solve the problem and break the cycle.

Destroy it and his legacy?

Why?

Because its the industry standard. Don’t question it.

This is something I’ve wanted to do for a while.

Terminator 2. First movie plays out exactly the same. Second one starts at night. We see Arnie S. walking through a devastated urban landscape. He pauses outside a particularly shabby looking hovel, then bursts in and machine guns everyone inside. In the background we see a TV set. It’s giving a foreign language news report of the massacre at a Los Angeles police station. The sketch of the suspect is [naturally] Arnie.

The Arnie we see is a CIA black ops assassin known as ‘The Terminator.’ When his handlers pick him up they drug him and put him on a plane to LA. We find out that the upper levels have decided that they need to throw him under the bus rather than risk having the press and Congress find out that they’ve been using him for years. They know he couldn’t have been the one who killed all the cops, but they can’t risk someone who knows him identifying him.

Meanwhile, the cyborg hand has crawled away from the scene. It has most the information of the main computer and can take over almost any advanced machine. It can’t, for example, take over a 1950’s car with no onboard computer, but a modern Tesla would be completely taken over.

We also have the daughter of the Paul Winfeild character. She’s a police detective in her own right, and is investigating what happened to her father. She knows that Sarah Connor is somehow involved. Call her “Pam” because if they’d made the movie in the 1980’s Pam Grier would have been perfect.

So, you’ve got Pam chasing Sarah and Arnie [who escapes as soon as his plane lands in LA] while the hand is hidden in a computer server farm. The hand is monitoring the internet and radio, and can control things like helicopters.

Details to follow…

All of the modern films keep bringing the Terminator forward in time, which often ends up being lame. I think we strip away most of the future nonsense. Skynet has decided the Connors bloodline in 1984 is too powerful, so they send a Terminator back to 1884 to try and cut it off at an earlier date. The Terminator has to fight cowboys in the American West.