I know a lot of us have our own outlines and scripts and such for GF4,and I'm no diffrent. I dont have an outline and I dont write in chronological order, but all in all I have about half the script done. I timed it last night and it took about 1:45 give or take.There are huge gaps in it though, which is why I have refrained from posting it.
Anyway, there is a writing comp in my town, and since I wount be 20 until Sept, I'm still eligible. :p I'm going to be entering excerpts from GF4 in it, so when I get those typed up, I'll post em.

Well give us an outline...

UnderBoss and I are currently at work on one... check out the thread started by me to see what it's about... its starting to look better everyday.

Sorry it took so long.Like I said, I dont really have an outline.I just write a scene as it comes to me.
These scenes took first, out of 3 I am constantly changing the whole script though.So by next week these scenes will be completely diffrent. Feel free to comment.
GENCO: (Voice over onto footage of Luca walking around, “terrorizing”. People are genuinely scarred.) Some men run around screaming, “Kill me, kill me.” They demand to be killed. They fly into a rage when they lose their money gambling. They bully and aggravate men whose capabilities they don’t know. It is impossible not to notice them. Luca is one of those men. Your father knows the secret to controlling men like this. You see, Luca doesn’t fear death, but he fears your father because he is the only man who Luca does not want to kill him.(pauses) Luca Brasi is also in debt to your father.
TOM: (OS) What favors did he perform for Luca?
(There is a knocking at the door. A woman, Filomena, answers it. Outside is standing Luca Brasi. It is late at night.)
FILOMENA: (fearful) My husband is not here at the moment.
LUCA: I’m not here for your husband, I’m here for you. Get you’re stuff, there’s a woman giving birth.
FILOMENA: Oh, I see. Stay right there, I’ll get my things. (She runs in and grabs a bag. Luca Brasi grabs Filomena and drags/leads her up to an apartment where a young Irish girl (clearly a whore) is on a bed giving birth.)
FILOMENA: Oh, ok honey, just breathe. Ok, ok it’s coming; he’s coming (etc. Luca is standing in a corner) Oh, he’s out! Sweetie, you have a son! (Filomena gives the baby to the Irish girl. The girl looks up at Luca. He is extremely upset and angered.)
GIRL: I’m sorry Luc, I’m sorry. (Exhausted, she falls asleep. Filomena looks up at Luca.)
FILOMENA: Are you the father of this boy?
LUCA: Yes, I’m the father, but I don’t want any of that race to live.
FILOMENA: I…I don’t understand.
LUCA: Take it downstairs and throw it in the furnace.
FILOMENA: He’s your child do what you want.
LUCA: Come with me. Take the baby. (He grabs Filomena after she has taken the baby from the Irish girl’s arms. Luca leads her to the furnace and opens its doors.) Throw it in. (Filomena does nothing.) Throw it in.
FILOMENA: Take the child. He is yours. If you wish him to be killed, you do it yourself. (She pushes the baby into his arms, then turns around to leave. Luca grabs her shoulder and shoves the baby against her chest.)
LUCA: Throw it in, now!
FILOMENA: (Tries to give the baby back to Luca, but he won’t take it.) He is yours…
LUCA: (pulls out a knife) Throw it in or I’ll cut your throat. (Filomena takes a step towards the furnace, then stops.)
FILOMENA: (muttering to herself) Oh, no, I can’t. God help me.
LUCA: Do it now or I will cut your throat. Throw it in now. (Filomena closes her eyes, takes another step towards the furnace, and throws the baby in. Luca steps in front of her and closes the furnace doors. He thrusts a bag of coins into her hand.) You’re a smart woman, so I don’t need to tell you that not a word of this needs to be spoken to anyone. If I hear that you’ve said something to anyone, even your husband, then I will pay both of you another visit, capice? (Filomena nods. She turns around and leaves. Once outside, she runs crying to her apartment. She bursts through the door, where her husband is standing.)
* Note: Next part is in Sicilian.*
HUSBAND: What’s wrong? (Filomena sits down on the bed, still crying, but says nothing. Her husband sits down next to her.)
FILOMENA: (sobbing) I don’t want to stay here anymore. I want to go back to Sicily. Sicily is a far more civilized place than here.
HUSBAND: Why would you want to go back to Sicily? I am doing well here. You are doing well here. Why would we possibly want to go back? Midwives are far less useful in Sicily.
FILOMENA: I don’t care, I don’t care. I don’t want to be a midwife anymore. I cant, I can’t.
HUSBAND: Did someone threaten you?
FILOMENA: No, no
HUSBAND: Did someone threaten me?
FILOMENA: No, no, I just want to leave this horrid country.
HUSBAND: If someone is threatening us, we can’t just pick up and leave. We have to stand our ground and defend ourselves.
FILOMENA: No, no nothing like that happened.
HUSBAND: You don’t have to lie to protect me.
FILOMENA: I’m not lying! I just want to leave. The next ship that leaves for Sicily, I will be on it. (She gets up and starts packing a bag.)
HUSBAND: Filo, ships don’t leave for Sicily, they leave from there. Do you know how many people would kill they’re own mother just to be here and be in your position?
FILOMENA: I don’t care. You can stay here as long as you like, but I am leaving.
HUSBAND: Did a child die? You’ve seen hundreds of children born dead.
FILOMENA: I killed this one. (Her husband says nothing.) His father held a knife to my throat and told me to throw him into the furnace.
HUSBAND: Did you?
FILOMENA: Yes. Maybe if I would have pinched him, made him cry, then that monster would have had some mercy.
HUSBAND: No, no, Filo, there was nothing you could have done. What kind of man would do that to his own son?
FILOMENA: Luca Brasi. That’s why I have to leave. I would suggest you do too, now that I have told you. I told him I wouldn’t even tell you.
HUSBAND: Ok, alright, I understand now. I’ll stay long enough to sell my store and the house. You should go directly to Sicily, and I will meet you there when they sell.* End Sicilian dialogue*
-NEXT SCENE-
A young Vito and Genco are sitting in the Genco Pura office.
GENCO: You can only ignore this man for so long. He fears nothing.
VITO: He also follows no rules, only his own. If this man is as fierce as you say he is, I have to trust him as if he were a brother or a son.
GENCO: You should at least meet with him. He has been… terrorizing, for lack of a better word, the neighborhood, forcing people to fear for their lives and children. People have been constantly coming to me and telling me, “Please, please, have Don Corleone talk to this man,” or,” Don Corleone must remove this man,” on and on, day after day. Before we know it, he might try to muscle in on our territories, try to extort the shopkeepers, perhaps become another Fannucci. This man, if he continues to behave this way, will become a threat to all our organizations, our businesses, even you and your family.
VITO: Is he a reasonable man? I will not spend hours trying to talk to an unreasonable man.
GENCO: He’s going to be a dead man soon. He’s in the hospital wing of the prison. They told me he tried to cut his throat with a piece of glass. He obviously does not fear death.
VITO: Arrange for me to meet this man. I’ll see what I can do.


I'll post the other ones tomarrow after I retype them.

Pretty good. Nice adaptation of the GF novel chapters about Luca's background and showing how brutal he really is.

Good use of Genco as a narrator to move the story along. Genco is one pivotal character who really got very little screen time in GF I and II and needs to have more attention in IV.

Yeah I keep trying to add Genco in, but you really dont get a good idea of his role in the business with the movies or the book.

Here's the opening scene.I dont know if I just want to open to black or use this idea.
Black screen. GF theme song is playing. Fade to Mike Dying, Mary being shot, Mike’s papal honors, Fredo’s death, Mike hitting Kay, Anthony’s first communion, Mike as the Don, Sonny’s death, Vito being shot, Connie’s wedding, fade to black. Fade up to Genco Olive Oil building. White letters come up New York City, 1934. Vito Corleone and Genco Abbandando are sitting in a room speaking Sicilian. Clemenza comes into the room.
CLEMENZA: Don Corleone, I hate to interrupt you, and I know that you are a very busy man, but as Santino’s Godfather, I feel it is my duty to tell you this.
VITO: What has my son done now?
CLEMENZA: He was involved in an armed robbery with 2 other boys. No one was caught, but it was a stupid move. There were numerous witnesses and many chances to be caught.
VITO: Was that other boy, Tom, was he involved?
CLEMENZA: No.
VITO: Good. Clemenza, we’ve known each other for a long time, and I’m glad that I have a friend like you I can trust, who will tell me the things I need to be told. Find Santino; wherever he is bring him to me. (Clemenza leaves. Vito shakes his head) [To Genco] Santino is giving me more and more grief these days. He fights, makes poor marks in school and now this.
GENCO: (smiling) He’s 16, he’s expected to.
-NEXT SCENE-
VITO: Santino, come in here.
SONNY: What is it, Pop?
VITO: Santino, what the hell were you thinking? I never taught you to commit such an infamita. You could have easily been caught. Imagine the shame your mother would have felt, not to mention the other boys’ families. What gave you the right to commit such an act? What made you wish to commit such an act? And so stupid? What did you earn for that night’s work? $50 each? $20? You risked your life and freedom for $20?
SONNY: I want to join the family business.
VITO: Don’t you want to finish school and become a lawyer? You would make a much better living and help me out much more. A lawyer with his briefcase can steal more money than a thousand men with guns. Why would you want to become an olive oil importer?
SONNY: Olive oil importer? C’mon Pop, do you actually think….
VITO: What do you think, that little stint you pulled is supposed to make me trust you? You’ve acted like some…street hood. You can’t behave like that if you are to be an employee of mine.
SONNY: I saw you kill Fannucci.
VITO: Ahhhh
SONNY: When Fannucci left the café, Mama said I could go and bring you back to the family to watch the parade. I saw you go up to the roof and I followed you. I saw everything you did. I saw you unscrew the light bulb, I saw you kill him, and I stayed up there long enough to see you throw away the wallet and the gun.
VITO: Ahhh, then I guess I can’t talk to you about how you should behave.
SONNY: So I can work for you?
VITO: Come in tomorrow at 9 o’clock. Genco will show you what to do.
SONNY: Thanks Pop, you won’t regret it. (Starts to get up)
VITO: Santino, promise me you won’t do anything like this again, anything dishonorable.
SONNY: I won’t.

As more scenes are typed, I'll be adding them.Again feel free to comment.

Good adaptation of Puzo's GF novel coverage of how Sonny first got involved in "the business." And good reference to Tom Hagen, although I don't think Vito would refer to him as "that other boy" to Clemenza - Vito adopted Tom into the family when he was about 10, so Clemenza would know darn well who he was. Vito would say something like:

People who scream "oh, we can't do a GF IV because Puzo is gone," obviously haven't read the novel - there is plenty of good framework available for the "Happy Years" sequences. Presumably much of the script work Puzo already completed on GF IV has to do with these chapters... but this is pretty cool...

I was going to post-The begining dialog doesnt sound very natural to me, but I didnt, because I wanted to hear other people's opinions.I only refered to Tom as "that other boy" because I took that directly out of the book. I agree with you he should be mentioned by name. I like the way Sonny's behavior was forshadowed in your dialogue.I might have to use it.
One thing that especially effected me when I was trying to write scenes was the ages of everyone, becuase they were so inconsistant throughout the book. As a rule of thumb, for my script I made each kid 4 years apart. i.e. Sonny/Tom-16,Fredo-12,Michael-8,Connie-4. At times that seems a little too spread out though. I was thinking to maybe make Mike 12 when Fredo was 14 and Sonny/Tom was 16. I like this aging better because in the book, Sonny says "I made my bones at 19" so that would make Fredo 17 and Mike 15. I'm going to have to change a few parts in my script...but I think I'm going to go with that.
Sorry, just thinking out loud here.

Godfather Timeline

check the timeline link, it clarifies things a bit -

Sonny, Tom Hagen, born 1916

Fredo, born 1919 (early?)

Michael, born 1920 (late?)

Connie, born 1923

Your scene above takes place most likely in 1932/33 - Fredo is 13, Michael 12 and Connie 9.

Grazie for the timeline Enzo.The idea of Fredo and Mike being one year apart doesnt really feel right for me,but hey whadreya gonna do
And now for another exciting installment of my script
VITO: We’ll deal with Santino later. Have you found out anything else about that new mall property out in Long Beach?
GENCO: We talked the owner into selling. He said he’d be ready to move in about a month.
-NEXT SCENE-
People are moving things into the Corleone Estate. Three men come though the gate in a utility truck, let in by a buttonman.
MAN 1: We’re furnace inspectors from the Long Beach County. We are here to perform a furnace inspection.
VITO: Fredo, show these men where our furnace is. (This is the first time we see Fredo. He is about 10-12 and shy.)
-Later-
Vito comes down to the basement. The furnace is disassembled and its parts lay all over the floor.
MAN 1: Ah, just the man I want to see. Your furnace is in lousy shape. If you want us to fix it and put it together again, it will cost you $150 in labor and parts and then we’ll pass you for county inspection. You see, we stamp this seal on it, then nobody from the county bothers you again.
VITO: (in broken English) If I don’t pay you, what happen to my furnace?
MAN 2: We walk out and leave it the way it is now.
VITO: Wait, I’ll get money. (Leaves and finds Sonny) Santino, there are some men who claim to be from the county in our basement. They took apart the furnace and think they can strong-arm us into paying $150 for them to put it back together.
SONNY: I’ll take care of it Pop. (Goes to the basement with 2 bodyguards) What the hell are you guys doing, trying to rip off my father, eh? (Pulls out a gun) If any of you move a muscle, your brains are going to be all over that nice white wall behind you. Now I want you to put that furnace back together. Yeah, yeah come on (kicks Man 3) What the hell’s the matter, put the thing back together. (The men put it back together. When they are done, the bodyguards search them and find a card. Sonny sees the card and is enraged.) What the hell are you doing out here, eh? Your boss send you? C’mon get outta here. (kicks at them as they walk by.) Don’t let me see you in Long Beach again. I do and your balls will be hanging’ from your ears, you got that?
VITO: Santino, what are you doing?
SONNY: They’re just some home-improvement guys out in Suffolk County. They probably heard we were rich. I’m going to go call this company.
-Later-
SONNY: (on phone) Are you the owner of O’Harra’s Heating? I just had three of your men come and destroy my furnace, and I don’t ever want to see any of your men in Long Beach again, capice?
VOICE ON PHONE: What’s your name?
SONNY: Santino Corleone...
VOICE: I’m very sorry Mr. Corleone. It was a mistake; I hope my men didn’t do too much damage. I will speak to them the minute they get back. I will personally assure you that you will never see another one of my men in your area again….
SONNY: Yeah, well, see to it that you do. (hangs up the phone)

The ages are the same as when I handwrote them(4 year difference)I'll get around to changing that.

Heres another scene with Luca.This was mentioned a few times in Part 1 so I dont know if it will be really redundant seeing it too, but I wrote it anyway.
Luca is at a train station leaning against a car. 2 men come up to him.
MAN 1: You Maranzano’s guy? The boss said you’d be a big guy.
LUCA: Yeah. (He nods at the car.) Get in. (They put their bags in the trunk and do what Luca has told them. Cut to Luca driving. They have been driving for quite some time. Luca clearly has a place in mind. Luca and Capone’s 2 men are the only people in the car. The 2 men are in the back seat.)
MAN 2: Where are you taking us?
LUCA: You’ll see when we get there. The boss doesn’t want anybody else to know you guys are here. He’s a cautious man. (The 2 men accept that and settle back in their seats. Cut to Luca pulling into an abandoned where house out in the country.)
MAN 2: (confused) This is where we’re meeting him?
LUCA: Yeah, no windows or anything. He doesn’t like to be seen. (The men get out of the car and go to get their stuff out of the trunk. Luca stops them.) Don’t worry about it. You won’t need that stuff in here. You’ll be coming back out. (The men turn and start to walk in. Luca follows behind them.)
MAN 1: Luca, come up here with us. You don’t and I’m going to think you’re a threat. (Luca does so. They get to the door and Man 1 opens it. 2 other men step out of the shadows from in the where house. Capone’s men see them and reach for their guns. The 2 Corleone men, Joey and Frank as they are now called, grab the guns and frisk Capone’s men. Capone’s men allow them to do this; they don’t struggle. Joey holds Capone Man1’s hands behind his back as Frank grabs 2 bath towels and rope. Frank tries Man 1’s hands and feet together and stuffs the bath towel in his mouth. When they are finished, they turn to Man 2, who is looking on in horror and trying to get away from Luca’s grasp. Joey and Frank repeat the process on him.)
JOEY: (once they have finished) They’re all yours Luca. (He and Frank light up cigarettes and walk around the corner. Luca then walks over to an axe resting against some boxes. The men on the floor “scream” and try to get away [by wriggling on the floor] but it is no use. Luca walks over to Man one and swings the axe, hitting him in the foot. The man screams in pain. Luca takes a few more swings and both of the man’s feet are off his body in a pool of blood. The man is twitching, in shock maybe. The second man watches in sheer terror as his partner is being hacked to pieces. Luca again swings the axe, hitting the man in the knee. A few more swings and he gets both the man’s shins off. There is a large amount of blood on the floor and the man is obviously dead, but Luca is still hacking away. He continues by cutting the legs away from the torso. Exhausted, he turns towards the second man, who isn’t moving. Luca hits him with the blunt side of the axe in the stomach. He doesn’t move. Frank walks in from around the corner and walks over to inspect Luca’s work. He whistles under his breath at the sight of the first man, and then stops when he reaches the second.)
FRANK: What’s the matter with him? (notices he doesn’t have a towel) Where’s the towel? (Frank looks around for a second.)I don’t believe it! I really don’t believe it! He’s swallowed the towel!
LUCA: Make sure nobody finds him, or the other one. Clean this place up. (He looks at Man 2 and indicates him with the axe.) Make sure this one ain’t faking. (Luca walks off and drops the axe.)
FRANK: Don’t worry about it Luca. (He turns his head and yells at the stacks of boxes [opposite of where Luca has just exited]) Hey Joey, get out here and help me take care of this. (Joey wheels out some boxes and a few mops. He and Frank start to clean up the dead bodies.)

CLEMENZA: Don Corleone, I hate to interrupt you, and I know that you are a very busy man, but as Santino’s Godfather, I feel it is my duty to tell you this.

i dont think clemenza would talk like that to vito

Yeah,Ive thought about that, but really I cant think of any other way to have him say it.
"Yo,Vito,your kid Sonny was doing some wicked shit last night.Like,sticking up joints and wack shit like dat with his posse.Thought you should know before some other homie tells ya." Somehow that doesnt sound right either

Remember, this is 15-17 years after we see Young Clemenza in GF II. He's not a cocky street punk leading Vito around any more - Vito is the boss, and he knows it. Remember Clemenza talking to Vito in the den in GF I, when Michael announces the move to Vegas? Very formalized and subservient. I think Clemenza probably would indeed talk like this, if he was breaking bad news to Vito about Sonny.

i dont disagree but i think it would be more like
"Don Corleone,sorry to interupt-i know you're busy but,uh,Santinos got himself into some trouble"

but thats just my opinion based on the fact that Clemenza made Vito the man he is or was

Sorry its been awhile.I dont like the way some of this dialogue flows,so if you can help me out.....

Fredo’s Graduation
SONNY: Hey Fredo, so you finally did it huh?! Tom’s rubbing off on you, college boy?!(Fredo smiles his sort of half-sad smile) Hey, well at least you did it. Everybody’s real proud of you, especially Pop.
FREDO: Pop’s proud of me?
SONNY: Yeah sure, why shouldn’t he be? You graduated, only Tom’s done that and he ain’t a real Corleone. You’re the first one! (He slaps Fredo on the back) Go on, enjoy your party. (Sonny leaves. Fredo wanders around for a little bit, some of his classmates congratulating him, before he runs into Tom.)
TOM: Way to go, Fredo! Feels great, right, to finally get school off your chest?!
FREDO: (laughs a little) Sure does, Tom.
TOM: Enjoy the feeling, college gets worse, buddy. (Tom leaves. Fredo again wanders around the grounds before Vito comes up to him)
VITO: So you’re out of school now. What are you’re plans? Where do you plan to go to college?
FREDO: I don’t want to go to college, Pop. I want to work for you… like Sonny.
VITO: Like Sonny? You and Santino are two different people, Fredo. Trust me; this isn’t what I wanted for him. If it wasn’t for something that happened when you were 4, Santino would have gone to law school with Tom.
FREDO: Look at me Pop; I’m no good in school. I barely got this far. But maybe I can help you out. You let Sonny work for you when he was 16! He didn’t even graduate! Please Pop, give me a chance! (Mama comes running up to Fredo, followed by a 13-14 year old Michael and a 9-10 year old Connie.)
MAMA: Oh, Frederico, we are so proud of you! (She hugs him) You see, you were left on the doorstep by gypsies, no Corleone could have gotten this far! Oh, it seems like just yesterday when you were a little boy and me and your father and your brother and you would sit out on the steps every night. (She smiles and hugs him again.)You’ll do great things Fredo, great things. (Michael steps forward and offers his hand)
MICHAEL: Congratulations Fredo. (For the first time we see Michaels’ intense stare that will become famous once he is the Don.)
FREDO: Thanks Mikey.
CONNIE: (Comes up and hugs Fredo like her mother did) I can’t believe a Corleone graduated. We’re so proud of you, all of us. I wish I was as old as you. I wish I was graduating today.
FREDO: You’ll graduate soon enough, Connie.
MAMA: Well, we should probably leave you alone. You’ll probably want to be with your friends on a day like today, instead of your family. (They start to walk off.) (To Michael) Now where’s that brother of yours, Santino?
FREDO: Pop, what about…
VITO: We’ll talk about it late. Now go and enjoy yourself. (They leave. Fredo sighs and walks over to a table with drinks. He takes one and drops into a seat at the end of one of the tables. A few of the people walking by congratulate him, but it is obvious he has no real friends)
-Later-
(Vito is in his study with Sonny, Fredo, Tom and Genco)
VITO: Frederico, why do you want to work for me? Why don’t you want to go to college like Tom? A lawyer with a briefcase can steal more than a thousand men with guns.
FREDO: Pop, you know I’m no good at school. Let me work for you. You let Sonny. (Sonny shifts uneasily in his chair.)
VITYO: Santino is a different person than you. You have a destiny separate from his. His destiny was shaped when he was 8 years old. You didn’t have the experience he had.
FREDO: Well, maybe it’s my destiny too. Look Pop; I’m not all that good at a lot of things. Maybe I’ll find my knack in this. (Vito sighs, but doesn’t say anything)
SONNY: (gets up from his chair and walks over to Fredo. He grabs his shoulders and shakes him gently, like in Part 1 when Sonny tells Vito he’s sending Fredo to the west.) Hey, c’mon Pop, Freddie’ll be good at it. I’ll take him under my wing; show him around a little, eh? (shakes Fredo. Fredo sort of smiles)
VITO: Santino, Fredo should go…
SONNY: Pop, don’t worry about it. I’ll take care of him.
TOM: Yeah, he could work in Sonny’s regieme.
GENCO: you never know Vito; he might be a good bodyguard.
VITO: Fredo, are you sure this is what you want to do?
FREDO: Yes Pop, I’m sure.
VITO: Well, you’re a man now Frederico, so I can no longer tell you what to do. What you do with your life is up to you. Who am I to decide what your destiny is? And what kind of man would I be if I kept another man from fulfilling his destiny? Come into the office with Santino in the morning. He’ll show you what to do.
SONNY: Hey, you owe me, buddy. I got you a job. (Fredo looks up at him [perhaps not wanting to be in his debt or to see if he’s joking] Sonny starts laughing.) No Fredo, I’m just joking. C’mon, loosen up. (shakes him again)
FREDO: It’s been a long day, I’m tired.
SONNY: Go get some sleep then. You’re waking up bright and early now that I’m your boss. (Both brothers laugh. they get up to leave.)
VITO: Santino… (Sonny comes back in)
SONNY: Yeah, Pop?
VITO: Watch you’re brother, alright? I really don’t want this for him. God knows he’s a good son, but I don’t want to see him killed or hurt in this business. I just don’t think he has the personal force to make in here. He’s got a good heart, but he’s weak. I still have high hopes for him. He could be the legitimate side of the family.
SONNY: I told you, don’t worry about him, he’s in good hands. I won’t let him get killed. Anyone messes with him; they have to answer to me. I’ll teach him to be forceful. You know me, Pop; I’m the best teacher there is for that.

Yeah I know in the book Sonny did graduate HS,but I thought it would be better if he didnt in the movies.

Hey, i have been visiting the site for a while and reading the messege boards, so i decided to register.
My opinion on GF4 is GF3 pretty much decided to put a lid on the series, after mike died and what happened. However, it still can be done. To make it good, they need to keep it original, as said by other members before, we dont want it to be some cheap rip-off like a lot of the new movies out.
I think a good plot for GF4, like a lot of the other ideas i saw here is a prologue and eprologue.
The more interesting part would take place in the late 20's through 1939, showing how the kids grew up and how Vito rose to power.
The other part of the story should take place in recent times, maybe a couple years afrer micheal died, showing how vincent tries to dominate his power and preserve the corleone family.
I havent really thought much about that part yet, but i thought it would be fun either way if the gf4 scripts kept going, i think they were pretty good. Maybe i will write a couple of things on my own.

Welcome CommonMafiaHood, I hope you enjoy your stay on these boards. I tend to agree with you. When i fist fell in love w/ the Godfather trilogy, I desprately wanted to see a Part 4 made. Now I'm not so sure. i love the story of the Corleones, and enjoy extending it, but I just dont feel there are enough good actors these days to fill the parts. There are so many diffrent varribles now, its next to impossible for a good GF movie to come out.

i would like to see a gf4. but i agree with you don sonny not enough good actors to fill the role,

I also agree. Maybe a good book would do it for now and a movie when they start making good movies again, if that ever happens

Don Sonny, since GFR is out and trashed here, we all agree that any one of us can do better than that. As you are one of the most talented, maybe you will continue and write someth. more? About Mike's love affairs, for example? How he put to rest his fathers doubts about his masculinity? It would be great to see him climbing at girls' balconies.

Thank you for the kind words JustMe. I took some time away from the script and am (trying)filling in most of the blanks. I wrote a new beginning, because I felt the old one was to comic book like. Will post it and some of my new scenes when I get them typed. (Rest assured, no one's sexual orentation will be changed. :p )

i was on the godfather returns website and apparently pacino is saying how he won't mind making a part 4 as long as ffc is directing it. that would be really interesting. so from what i see two important actors are keen on doing it. you have pacino and andy garcia. let's just hope that paramount get's off it's ass and starts getting it ready. i mean, i think that de niro can still portray vito, with enough makeup and airbrushing he might be able to look 10 to 20 years younger. right?

Which one you mean? markwinegardner.com? Or there is a special one already?

What the fuck!!!!! Pacino's character DIED at the end! No one in thier stoned, wasted, deathbed mind would ever agree to GFR the movie,especailly an actor of Pacino's talent. I demand a link to this site.

Wow, Sonny. You have some really great ideas. As I read the script, I am actually picturing it happen in my mind. You know a script is good when you can do that.

Keep working on it! Who knows, maybe you can send it to Paramount?

Thank you Don Vito.
As mentioned in my previous posts, I have typed some more scenes, including the revised beginning. However, I got a little spooked when GFR came out and there were some faint rumors of a movie. Dont get me wrong, I trust the members of the BB, but anyone can get on and read this thing, and I'm a little paranoid that I'm going to go see GF4 and reconize a few of my scenes. I'm pronbably just being paranoid.
Will probably end up posting a few more excerpts from scenes by the end of the month thought

look at this way

if the movies good... you can take all the credit

if the movies bad... you can sue

win-win situation Don Sonny

This was a very interesting part in the script. I couldn't stop reading. I expecially liked the part where Fredo wanted to work for Don Corleone.

Shut up. Stop trying to long live a dead man's work. It's just going to turn to crap. If we are trying to something, it should be writing stories of our own. Not fagot-ass continuations. Try to make something new. Maybe keep Puzo in mind.

These scripts are very hard to read. Which is a shame, because they are excellent and very exciting to read. In future, could you put a space betweeneach paragraph.