Picking the Right Protagonist

field19

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I just completed my first feature screenplay last year. It's all new to me, so that means it's all so exciting.
My question deals with protagonist "through-lines". Not sure if I'm combining terms, but I'm currently table reading my CIA action thriller in New York.
By and large, the readings are going surprisingly well. The pace is generally quick and the story intriguing to the group. No problems there.
The only problems that appear to crop up--if I also include the Blacklist.com evaluation and coverage by an L.A. line producer--relate to storytelling through the right character.
For the record, know that this story is an adaptation of my own novel that I published last year. Some key secondary characters might need a little more depth, but the main issue is with which protagonist should take over the story.
It involves an undercover CIA operative who is assigned to manipulate a high-functioning heroin addict of the opposite sex into divulging a secret with national security implications. From the "Break into Act II" to the midpoint, they are together. But at the midpoint, they separate and do not reunite until just before the end of Act II.
Commenters seem to be irked that the CIA operative, who I see as the primary protagonist, is not as interesting as the heroin addict. When I first conceived the book, the first draft had the addict as the primary, but I decided to flip them when I determined that the CIA operative would have more promising sequel potential (spoiler: the addict dies in Act III).
So, I'm asking for any kind of a road map or checklist on how to solve this problem, which frankly, I don't think I have. Can't a story be told through two protagonists? Why would this be confusing to people? I realize my ego has finally decided to get in the way and must be pushed aside, but I still think this story could be terrific with the correct revisions.
I'd appreciate any wisdom you might offer about this. Thanks.
field19
 

marlerj001

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Personally, I'd check on a few things:
1) How fleshed out is the main protagonist?
2) What specific things have I done to connect the protagonist to the audience?
3) What is the protagonist's dramatic need?
4) What is the protagonists main problem and how is it resolved by act three?
5) What specific scenes show the struggle between satisfying the dramatic need and clinging to old, safer, but unsatisfying life?