Attack by Ally, John Truby, The Anatomy of Story, p. 293–294

During the drive, the hero is losing to the opponent and becoming desperate. When he starts taking immoral steps to succeed, the ally confronts him.
At this moment, the ally becomes the conscience of the hero, saying in effect, “I’m trying to help you reach your goal, but the way you’re doing it is wrong.” Typically, the hero tries to defend his actions and does not accept the ally’s criticism. (See Chapter 10, “Scene Construction and Symphonic Dialogue”, for details on writing moral dialogue.)
The attack by the ally provides the story with the second level of conflict (hero versus opposition is the first). The ally’s attack increases the pressure on the hero and forces and forces him to begin questioning his values and way of acting.
CASABLANCA
Ally’s Criticism: Rick is criticized not by one of his allies but by his first opponent, Ilsa. In the marketplace, she accuses him of not being the man she knew in Paris. When Rick bluntly propositions her, she tells him she tells him she was married to Laszlo before she met him.
Hero’s Justification: Rick offers no justification excapt to say he was drunk the night before.
TOOTSIE
Ally’s Criticism: When Michael pretends to be sick so he can ditch Sandy and go to the country with Julie, Jeff asks him how long he intends to keep lying to people.
Hero’s Justification: Michael says lying to a woman is better than hurting her with the truth.
A single golf clap? Or a long standing ovation?

By clapping more or less, you can signal to us which stories really stand out.