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Sliding Doors had the same protagonist, but two different plotlines. Although it may not be exactly what you're looking for, as it had also had a sort of time/shift/parallel universe kind of theme.

It's difficult to know exactly what you are getting at without seeing a synopsis so bear in mind that any advice is pretty much firing blind.


If there is a connection between the two plots in terms of story or character arc for the protagonist then I don't necessarily see a problem. But you have thrown me off track by using Traffic as an example which was more of an ensemble piece whereas you seem to have a single protag.

If in the two plots there is no connecting tissue to the overall story or character arc then it is tricky to justify their existance.

Take LA Confidential and assume Ed Exeley is the protag [ there may be some argument!]

There were two main plots in that. The Night Owl Murders and the Disappearing Gangster.

It was only near the end that it was realised the two were connected. But they were connected. And in a very important way.

A convention in screenwriting is that every scene is there for a reason. You could equally say the same for every plot point. It strikes me that two seperate unconnected plots are distracting the audience from the protags single goal.

But if there is a good reason for two seperate plots there is no reason why you can't have them.

L.A. Confidential is a great example, Dave. Looking at the story with any of the three lead characters as the protag shows each has more than one storyline.

Exley: solve the Night Owl Murders the right way; investigate the body under the house.

Bud White: solve the murder of the prostitute; save the spanish rape victim.

Jack Vincennes: investigate Fleur De Lis; redeem himself for the death of the young actor.

The same can be said for each of the "villain" characters, Dudley, Patchett and Hudgeons. Each of them have more than one plot line.