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Forbidden Fruit by Timothy Lasiter - Short, Horror - This is the story of a Detective named Andrew. He is on a case of a suspicious death of a business man. The case becomes when he finds himself falling for the lead suspect, who happens to be a serial soul seeker. 25 pages - pdf format
First, the dialogue (Not all, but quite a lot) doesn't feel natural, some is a little on the nose.
Scenes - You put END SCENE every time a scene ends. I haven't seen this before and I don't think it is necessary - if you start a new scene it naturally signifies that the previous scene has ended
You need more sluglines and mini slugs, you have two people walking around a mansion talking with no new slug or mini slug to show us the change in location - I suggest researching these.
you also include a lot of stuff that is just not filmable - remember to write visually, this is a screenplay not a novel
Typically, a longline works best when it is a single concise statement that gives some sense of the main character, the inciting incident and some sense of the ending. You have the components, so it is mostly about how the logline is written. A poorly written longline can give the impression that you don't know what your story is about not to mention how it'll read.
"A private detective hired to expose an adulterer finds himself caught up in a web of deceit, corruption, and murder." - Chinatown (imdb)
BLB
Commodus: But the Emperor Claudius knew that they were up to something. He knew they were busy little bees. And one night he sat down with one of them and he looked at her and he said, "Tell me what you have been doing, busy little bee..."