only because the main character is painted as an antagonist to the largest degree and unless you have a preconceived notion that girl scouts are evil or kids are deserving of losing, there is no reason given to root for the antagonist. A super spoiler here for my short, TSP, the antagonist wins in the end. The way I painted it was I setup the whole situation in the very beginning scene, and painted whom the antagonist was so you knew that the antagonist would try to not let the protagonist win. In the end, neither character betrays the story or their personality. As such, the end is a suprise in that the audience knows the antagonist will do whatever he can to stop the protagonist from winning, so of course they are rooting for her. Since he wins, they realize I never betrayed them. With this structure, I too played with the audience's expectations and emotions and it has been met with very mixed results. They know in the very first scene that he wont let her win, but I think audiences really want her to win. They dont just expect it, they dont want the antagonist to win. Of course, I have my jerk boyfriend antagonist winning against a niave female, and not beating up an otherwise innocent child and her protectionist friends.