Little Women back I've had lots of troubles, so I write jolly tales.

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slugline
INT. NEW YORK. PUBLISHING OFFICE. 1868.
EXT. NEW YORK CITY. DAY. CONTINUOUS. 1868.
EXT./INT. BOARDING HOUSE. NYC. DAY. 1868.
EXT. FRANCE. PARIS. DAY. 1868.
EXT. PARIS PROMENADE. DAY. 1868.
INT. TAILOR SHOP - AFTERNOON. 1868.
EXT. MEG MARCH'S HOUSE. DAY. 1868.
EXT. INT. MARCH HOUSE. 1868.
INT. NEW YORK THEATRE. EVENING. 1868.
INT. NEW YORK THEATRE LOBBY. NIGHT. 1868.
INT. GERMAN BEER HALL. NIGHT. 1868.
THE PAST. INT. CONCORD. MARCH HOUSE. JO & MEG'S ROOM. 1861.
INT. GARDINER'S NEW YEAR'S PARTY. HALLWAY. NIGHT. 1861.
INT. GARDINER'S NEW YEAR'S PARTY. CONCORD. NIGHT. 1861.
INT./EXT. MARCH HOUSE. NIGHT. 1861.
EXT. MARCH HOUSE. NIGHT. CONTINUOUS.
THE PRESENT. EXT./INT. NEW YORK BOARDING HOUSE. NIGHT. 1868.
INT. PARIS. BALLROOM. 1868.
INT. BOARDING HOUSE DRAWING ROOM. NYC. DAY. 1868.
EXT. NEW YORK CITY. TWILIGHT INTO NIGHT. 1868.
INT. BOARDING HOUSE. DAY. 1869.
INT. TRAIN. DAY. 1869.
THE PAST. INT. ATTIC OF THE MARCH HOUSE. MORNING. 1861.
EXT./INT. CONCORD. MARCH HOUSE. CONTINUOUS. 1861.
INT. LAURENCE'S HOUSE. FORMAL DINING ROOM. DAY. 1861.
EXT. CONCORD. CHURCH. CHRISTMAS DAY. 1861.
EXT. WOORD AROUND THE HUMMEL HOUSE. 1861.
INT. HUMMEL HOUSE. DAY. 1861.
INT. MARCH DINING ROOM. LATE AFTERNOON. 1861.
THE PRESENT. INT. TRAIN. DAY. 1869.
INT. BOARDING HOUSE. KITCHEN/LAUNDRY. NEW YORK. DAY. 1869.
EXT. CONCORD TOWN ROAD. DAY. 1869.
THE PAST. EXT. CONCORD TOWN ROAD. MORNING. JANUARY, 1862.
EXT. AUNT MARCH'S HOUSE. THE SAME DAY. 1862.
INT. AUNT MARCH'S HOUSE. CONTINUOUS. 1862.
INT. SCHOOL. THE SAME DAY. 1862.
INT./EXT. MR. LAURENCE'S HOUSE. DAY. 1862.
INT. LAURENCE HOUSE. LIBRARY. DAY. 1862.
THE PRESENT. EXT. MARCH HOUSE. DAY. 1869.
THE PAST. INT. MARCH ATTIC. DAY. 1862.
THE PRESENT. EXT. MARCH HOUSE. DAY. 1869.
INT. MARCH HOUSE. KITCHEN. DAY. 1869.
THE PAST. INT. MARCH HOUSE. EVENING. 1862.
INT. THEATRE. NIGHT. 1862.
INT. JO AND MEG'S ROOM. EVENING. 1862.
EXT. THEATRE. NIGHT. 1862.
INT. KITCHEN. EVENING. 1862.
INT. MARCH LIVING ROOM. NIGHT. 1862. CONTINUOUS.
INT. JO'S ROOM. EVENING. 1862.
INT. MARCH HOUSE. KITCHEN. MORNING. 1862.
EXT. RIVER. DAY. 1862.
INT. MARCH HOUSE. AMY AND BETH'S ROOM. EVENING. 1862.
THE PRESENT. INT. BETH'S ROOM. DAY. 1869.
THE PAST. EXT. LAURENCE HOUSE. SPRING DAY. 1862.
EXT. ANNIE MOFFAT'S HOUSE. BOSTON. DAY. 1862.
INT/EXT. LAURENCE HOUSE. DAY. 1862.
INT. ANNIE MOFFAT'S HOUSE. DAY. 1862.
INT. LAURENCE HOUSE. DAY. 1862.
INT. ANNIE MOFFAT'S HOUSE. STAIRS. DAY. 1862.
INT. ANNIE MOFFAT'S HOUSE. DAY. 1862.
INT. LAURENCE HOUSE. DAY. 1862.
INT. MOFFAT BALLROOM. NIGHT. 1862.
THE PRESENT. INT. MEG'S HOUSE. KITCHEN. NIGHT. 1869.
INT. PARIS. ARTIST'S STUDIO. DAY. 1869.
THE PAST. EXT. BEACH. DAY. 1862.
THE PRESENT. EXT. SEASHORE. DAY. 1869.
THE PAST. EXT./INT. UNION ARMY SOLDIER'S FUND. DAY. 1862.
INT. MARCH FAMILY HOME. EVENING. 1862.
INT. MARCH HOUSE. UPSTAIRS HALLWAY. NIGHT. 1862.
THE PRESENT. EXT. PARIS. GARDEN. DAY. 1869.
THE PAST. INT. MARCH HOUSE. EARLY MORNING. 1862.
EXT. LAURENCE HOUSE. MORNING. 1862.
EXT. WOODS. /HUMMEL HOUSE. AFTERNOON. 1862.
EXT/INT. MARCH HOUSE. LATE AFTERNOON. 1862.
EXT./INT. LAURENCE HOUSE. MR. LAURENCE'S OFFICE. DAY. 1862.
INT. OUTSIDE BETH'S ROOM. DAY. 1862.
THE PRESENT. EXT. SEASHORE. DAY. 1869.
THE PAST. INT. BETH'S ROOM. LATE AT NIGHT. 1862.
INT. AUNT MARCH'S HOUSE. DAY.
THE PRESENT. INT. FRANCE. RENTED APARTMENTS. DAY. 1869.
INT. MARCH HOUSE. BETH'S ROOM. DAY. 1869.
EXT. MARCH HOUSE. GARDEN. DAY. 1869.
INT. MARCH HOUSE. BETH'S ROOM. DAY. 1869.
THE PAST. INT. BETH'S ROOM. DAY. 1862.
THE PRESENT. INT. BETH'S ROOM. EVENING. 1869.
THE PAST. INT. BETH'S ROOM. EVENING. 1862.
THE PRESENT. INT. BETH'S ROOM. NIGHT. 1869.
THE PAST. INT. BETH'S ROOM. EVENING. 1862.
INT. MARCH HOUSE. LIVING ROOM. AFTERNOON. 1862.
THE PRESENT. INT. BETH'S ROOM. MORNING. 1869.
EXT. GRAVEYARD. DAY. 1869.
THE PAST. EXT./INT. MARCH HOUSE MEG & JO'S ROOM.SPRING. DAY. 1865.
EXT. MARCH HOUSE. GARDEN. DAY. 1865.
INT. MEG'S HOUSE. DAY. 1865.
EXT. WOODS. DAY. CONTINUOUS. 1866.
THE PRESENT. INT. MARCH HOUSE. ATTIC. DAY. 1869.
EXT. PARIS. FRANCE. DAY. 1869.
INT. MARCH HOUSE. ATTIC. DAY. 1869.
EXT. MARCH HOUSE. DAY. 1869.
THE PAST. EXT. STREETS OF NEW YORK CITY. DAY. 1867.
THE PRESENT. INT./EXT. MARCH HOUSE. LIVING ROOM. DAY. 1869.
EXT. MARCH HOUSE. DAY. 1869.
EXT. WOODS. DAY. 1869.
EXT. MARCH HOUSE. DAY. 1869.
INT. MARCH HOUSE. JO & MEG'S ROOM/ ATTIC. NIGHT/DAY. 1869.
INT. AUNT MARCH'S HOUSE. DAY. 1869.
INT. NEW YORK PUBLISHING OFFICE. DAY. 1869.
INT. MARCH HOUSE. ATTIC./DINING ROOM. EARLY EVENING. 1869.
THE PAST. EXT. BOARDING HOUSE. NEW YORK. DAY. 1867.
BACK TO THE PRESENT. 1869.
INT. MARCH HOUSE. LIVING ROOM. DAY. 1869.
INT. NEW YORK APARTMENT. NIGHT. 1869.
INT/EXT. CARRIAGE./TRAIN STATION. NIGHT. 1869.
INT. PUBLISHING HOUSE. NEW YORK CITY. DAY. 1870.
THE PRESENT IS NOW THE PAST. OR MAYBE FICTION. EXT. TRAIN. EVENING. 1869.
THE PRESENT. INT. PUBLISHING HOUSE. NEW YORK CITY. DAY. 1870.
FICTION(?) INT./EXT. PLUMFIELD ACADEMY. DAY. 1871.
INT PRINTING HOUSE. DAY. 1871.
scene
Jo sells a story to Mr Dashwood. He's a bit condescending, but he buys the story.
Jo runs back to her boarding house, full of life.
Jo talks with Friedrich.
Amy is in Paris with Aunt March, sees Laurie.
Meg buys some cloth that is clearly beyond her means.
Beth plays the piano. She seems to be ailing.
Jo watches Twelfth Night. Sees Friedrich there. They go to a beer hall and she dances with someone.
The girls together, Jo burns some of Meg's hair.
Meg is the belle of the ball. Jo hates it. But she meets Laurie and they become friends. Laurie takes a shine to her.
The three get back to the March house. There's much laughter and merriment. Laurie loves this family, most notably Jo.
Jo writes. Friedrich gives her a gift of Shakespeare.
Amy confronts a drunk Laurie. It gets ugly.
Friedrich gives Jo honest criticism of her writing. Jo doesn't take it well.
Jo is angry. Then she gets a telegram that Beth is sick and she leaves for home.
Christmas morning. The girls bicker.
Marmee shames the girls into giving away their breakfast to a poor family.
Marmee and the girls bring breakfast to the poor Hummels.
They return home to find that Mr. Laurence has sent over breakfast. A letter comes from their father from the war. The girls put on a play.
Jo's train gets home.
Friedrich discovers Jo went home.
Jo walks through her home town on the way home.
The girls walk through town and have happy life stuff.
Jo is tending to Aunt March, but not too well. Aunt March lectures her. She offers her a trip to Europe.
Amy draws a caricature of her teacher and gets in trouble.
Laurie takes in Amy, who was hit by her teacher. Meg and Jo join them. Marmee will remove Amy from the school. Mr. Brooke likes Meg. Mr. Laurence invites Beth to play his piano.
Jo sees the empty Laurence house.
The girls invite Laurie to join their amateur theatricals. Laurie gives them keys to the mailbox in the woods for their private letter-sharing use.
There's no letter in the box. Jo gets home.
Jo and Meg are going to a play, but Amy and Beth aren't invited. Amy is angry.
Jo enjoys the play while Amy burns up her novel at home.
Jo comes home, finds her novel is destroyed. Jo is enraged at Amy.
Amy apologizes. Jo doesn't accept.
Jo is still mad at Amy. Laurie arrives and asks her to go skating.
Jo and Laurie go skating. Amy follows and breaks through the ice. Jo and Laurie save her. Jo is no longer mad.
Jo talks to Marmee about her anger. Marmee tells her that she gets angry too.
Jo comes home to Beth. They are nostalgic.
Meg sets off to stay with a friend and to go to a ball. Mr. Laurence invites Beth to come play his piano.
Meg arrives at her friend's house as Beth arrives at the Laurence house to play the piano.
Meg is a hit at the ball. Laurie shows up. He doesn't like seeing Meg at the ball. He's mean about it.
Beth plays the piano. She's quite good.
Laurie makes up with Meg and the two dance.
Meg confesses her extravagance to her husband John.
Laurie apologies to Amy for being rude at the ball. He asks her to do a portrait of him. She agrees. She tells him that a woman has to marry for money, so she shall marry Fred Vaughn.
Laurie introduces Fred to the girls. They play at the beach. Amy sketches Laurie.
Beth and Jo are at the beach. Beth asks Jo to write something for her.
Marmee is helping the Soldier's Fund. She gets a telegram from Washington.
Marmee is going to Washington on the train to tend to her husband. John Brooks offers to go with and help. Meg is grateful - the first stirrings of love in her. Jo gives Marmee money that she got by selling her hair.
Jo is upset about her hair. Amy sympathizes. They have a nice moment.
Laurie asks Amy not to marry Fred. Amy tells Laurie that she doesn't want Jo's castoffs.
The girls, bonding. Beth is going to go to the Hummel's house to help them.
Beth gives a gift of slippers to Mr Laurence. She then goes to tend to the Hummels. Mr Laurence gives her his piano in exchange.
Beth goes and thanks Mr. Laurence. She has a fever that she got from the Hummels.
Beth is sick in bed with scarlet fever. Amy will be sent off to Aunt March to stay away from the sickness. Jo will nurse Beth.
Jo reads Beth the story she wrote about them. Beth loves it and asks for more. She notes she's going to die. Jo resists, but Beth insists.
Jo tends to a sick Beth.
Aunt March takes a shine to Amy, tells her she must marry well.
Amy has refused Fred's proposal. She's pining for Laurie.
Beth is dying.
John and Meg reconcile after their fight.
In a series of intercut scenes, Beth gets sicker both in the present and past.
Beth dies in the present.
In the past Beth recovers. And then their father comes home, brought back by John. All is good in the world, and John has definitely won over Meg now.
Everyone discovers Beth is dead. They hold the funeral.
All are happy on Meg's wedding day. Jo tries to get Meg to run away, but Meg is happy to be marrying.
Meg and John marry. Aunt March is snarky. She's taking Amy to Europe. Jo is unhappy - she thought she'd be going.
Laurie proposes to Jo. she refuses.
Jo is the only one left at home. Jo tells Marmee how lonely she is, she wishes she had married Laurie. Though this is her loneliness speaking, not her love.
Laurie appears to comfort Amy on the news of Beth. They decide to marry.
Jo writes to Laurie to accept his earlier proposal, not knowing she's too late.
We see Jo as she first arrived in New York.
Laurie arrives, tells Jo he married Amy. Jo is hurt, but puts on a brave face for Amy.
Jo destroys the letter where she accepts Laurie's proposal.
Jo sees Mr Laurence, mourning for Beth. She offers comfort.
Jo starts writing the book that will be Little Women. She sends off the first chapters to Mr Dashwood.
Aunt March, newly dead, left Jo her mansion. Jo decides to open a school in it. Jo reveals that she wrote a book about them. Amy makes a feminist statement about their lives having importance.
Mr. Dashwood turns down the book. Friedrich arrives to visit Jo.
Jo arrives at the boarding house and meets Friedrich.
Friedrich charms the family. And Jo. He plays Beth's piano, beautifully. Then he leaves.

Everyone teases Jo into following him.
Mr. Dashwood's daughters love Little Women. He realizes the book could be a hit.
Jo runs into the train station after Friedrich.
Jo negotiates with Dashwood for the book. Dashwood insists that the Jo in the book get married. Jo resists, but ultimately agrees, noting that marriage is an economic proposition.
Jo finds Friedrich, asks him to stay.
Jo has added the marriage to the book. Dashwood will buy it. They negotiate, come to a deal. Jo will keep the copyright.
In a series of intercut scenes, we see:

1. Jo's life in the fiction of the book as she opens her school and lives happily with Friedrich, her entire family all around.
2. Little Women is published.
SP: Jo writes a book
Jo is an author.
Jo is writing, always.
Friedrich tells Jo that she is writing drivel but has talent. This sets the idea that Jo should be writing something else. But what?
Note that Jo is the author of their plays.
Jo's novel gets burnt! What a betrayal!
Jo cares about her novel more than she does about her sister.
Beth asks Jo to write something for her. Jo says she doesn't write any more, but Beth insists.
Jo reads Beth her story, which is about the girls when they were young. This is the first sign of what will become Little Women.
Jo, driven to extremities by her extreme loneliness, starts writing the story of her youth, a book that becomes Little Women.
Jo is nervous to confess that she is writing a book. But Amy, her usual antagonist, surprises her by pushing her to write. Amy's feminist fire fuels Jo's writing, and the two are reconciled.
Dashwood at first turns down the book.
Dashwood's daughters love the book, which drives Dashwood to reconsider his rejection.
Dashwood is going to buy the book, but he insists that book Jo marry.
And we're now in the book, even though apparently in the present day. And in that book, Jo will marry.
Jo insists on keeping her copyright, showing confidence in herself and her book.
The book is published. And we see the end of the book.
SP: Jo's in-book arc
We first see Friedrich.
Jo and Friedrich have Shakespeare in common.
Jo meets Laurie.
Jo bonds more with Friedrich.
Friedrich's criticism is an obstacle to their relationship.
Jo leaves New York.
Friedrich is unhappy that Jo is gone.
Jo wants to go to Europe with Aunt March.
Jo and theater, again.
Conflict between Jo and Amy!
Jo and Laurie are close, special friends.
Jo forgives Amy.
Jo is like her mother in her anger.
Jo impulsively sells her hair.
Jo regrets her impulse.
Jo shows her decency by nursing Beth.
Jo tries to hold onto her childhood, but Meg won't.
Jo's hopes for Europe are dashed.
Jo refuses Laurie's proposal.
Jo is lonely, regrets turning down Laurie.
Jo will accept Laurie.
Jo's arrival in New York at the start of a grand adventure.
Jo has lost Laurie for good.
Jo accepts the loss of Laurie.
Jo first meets Friedrich.
Friedrich comes to see Jo.
Jo chases Friedrich.
Jo and Friedrich agree to marry.
Jo's fictional finish, happily married and running a school.
SP: Amy's arc
Introduce Amy. We find out she's fond of this Laurie guy and in Paris with her aunt.
Amy and Laurie are mad at each other. Amy is going to marry Fred, clearly for his money, but is afraid of offending him.
Amy chafes at being poorer than the other girls.
The first sign of Amy's artist ambitions.
Amy is feisty and in trouble with her teacher. Laurie first takes notice of her.
Amy is jealous of Jo.
Fight between Amy and Jo.
Jo forgives Amy.
Amy is going to give up art because she will never be great. She lays out her mission statement to Laurie: "So don't sit there and tell me that marriage isn't an economic proposition, because it is."
Amy first meets Fred.
Amy and Jo actually have a nice moment together.
Laurie proposes to Amy, but Amy is angry at the thought of once again having Jo's seconds.
Amy is sent off to Aunt March to stay away from ill Beth, a fateful sending.
Aunt March gives Amy her marching orders - marry well! And she likes Amy.
Amy turns her back on Aunt March's advice and turns down Fred. She follows her heart!
Aunt March is taking Amy to Europe.
Amy and Laurie decide to marry.
Laurie announces that he has married Amy.
Amy is the strongest voice in encouraging Jo's writing, making a strong feminist statement in its favor. This marks the final reconciliation between the two.
SP: Meg's arc
Meg has an eye for beautiful things, but not the money for them.
Meg is the social one.
Meg is the actress of the bunch, the glamorous one.
John Brooke and Meg meet. John likes Meg.
This entire sequence shows Meg in a social environment, one that she loves.
Meg's poor circumstances make a sad contrast to her time at the ball.
John's offer to help Marmee first impresses Meg.
John and Meg reconcile. Meg is content with her lot because she has such a good husband.
John's support of the March parents wins over Meg.
Meg declares her happiness at marrying John.
Meg and John marry.
Joe's structure analysis
Teaser - introduction to Jo's story as author.
Begin Act One: introduction to the Marsh girls, past and present.

Sequence: Meet the Marsh Girls.
Sequence: meet how they were then.
Sequence: current life is complicated.
Act Two begins: the story gets rolling as Jo heads home.

Sequence: Christmas with the young Marches.
Sequence: sad times, happy times.
Sequence: Jo and Amy fighting.
Sequence: Jo comes home.
Sequence: Meg at the ball.
Sequence: complications.
Act Three: the illness and death of Beth.

Sequence: Beth gets sick and Jo cares for her.
Sequence: key turning points.
Sequence: A wedding and a funeral.
Sequence: Jo is lonely.
Act four: Jo writes Little Women
3-act structure
Note: I've added some possible midpoints, but I don't really think this film has a traditional midpoint. Then again, it's too complex to need one.
Inciting incident. Dashwood asks for more stories from Jo.
Plot Point 1: Commence Act Two. In the present, Jo goes home. In the past, life gets rolling. (Note that the book starts with the Christmas Morning scene.)
Possible midpoint on Jo's anger. But this doesn't really change anything - I doubt there's a true midpoint here.
Possible midpoint: Beth gets sick.
Possible Midpoint - Beth's death changes the nature of the story like a traditional midpoint. But this is way late for a midpoint - it's a big turning point, but doesn't really work as a midpoint. (I don't think there is a traditional midpoint here.)
Plot Point 2: Commence Act Three
Climax of Jo's fictional story with Friedrich.
Climax of the book-writing story, when Dashwood buys the novel.
Save the Cat Beats
Several beats here are missing, including the Debate and the B Story. (Pretty much all the sisters' subplots are B stories, so it's hard to call out just one, and they certainly get started a whole lot sooner than Snyder's prescribed page 30.) And see the note about the midpoint under 3-act structure: there isn't really a strong midpoint here.
Opening Image (p1) - Jo, the budding author, enters the man's world of publishing.

Catalyst (p12)
Begin Set-Up (p1)
Theme Stated (p5) - "No one gets ink stains like yours just out of a desire for money."
End Set-Up (p10)
Break into Two (p25)
Begin Fun and Games (p30-55)
Midpoint (p55), though see the commentary in the 3-act structure row.
Bad Guys Close In (p55-75). The bad guy in this case is Beth's death.
All is Lost (p75)
Dark Night of the Soul (p75-85). This is only Jo in the present. Note that in the past things are still hopeful and generally happy.
Break into Three (85)
Begin the Finale (p85)
Final Image (p110). There's really two final images. Jo's book is the critical final image, for the story of Jo writing a book. But the fictional Jo's story has the final image of the happy school with all the family involved.
Hero's Journey
A lot of beats don't really fit.

Refusal of the call is largely missing. This should be when Jo gives up writing, but that's not a fixed moment. And she doesn't accept the call until Beth asks her to write again, which is long past the normal point in the story.
The call to adventure.

The hero is called on to do something.
The ordinary world.

Establishment of the hero's status quo.

The Departure begins.
Meeting the Mentor.

The Hero needs help from someone.

Except Jo doesn't really need Friedrich's help - ultimately it's Beth that gives her the advice she needs (to write about their family). But it doesn't make sense to talk about when Jo meets Beth.
Crossing the First Threshold.

The Hero goes on the adventure.

Start the Adventure.
Tests, Allies, Enemies.

The Hero faces challenges, meets allies.
Approach to the Inmost Cave.

The Hero gets closer to his goal.

In this case, for the first time Jo has written about her family, which is a move towards her goal of being an author.
Ordeal.

The Hero faces his biggest test of all.
Reward.

The Hero sees the light at the end of the tunnel.
The Road Back.

The challenge to get back is harder than it seems.
Resurrection.

The Hero meets the final test.
The Return.

The Hero returns with the prize.
parallels
The film has many parallels between the complicated and often painful present and the idealized happy past. Some events seem to repeat in the two periods. This lane addresses those.
Parallel A, present.

The first two sequences are both introductions to our characters: as they are now, as they were then.
Parallel A, past.
Parallel B, present.

The complications and ugliness of life, but note that while things just work out in the past, in the present the problems linger.
Parallel B: present.

This sequence ends with an ominous message about someone being sick.
Parallel B, past.

There's still a fair amount of chaos and bickering, but Marmee is there to resolve everything. Plus, even the sacrifices in the past are redeemed by a deus ex machina in the form of Mr. Laurence.
Parallel B: past.

The past version of this sequence ends with the letter from their father, a happy message.
Parallel C: town in the modern time.
Parallel C: town in the past
Parallel D: The Laurence house, full of life and friends.
Parallel D: The Laurence house, empty.
Parallel E: Everyone is together, Laurie presents the mailbox.
Parallel E: The mailbox is empty.
Parallel F: Meg is a hit in wealthy company.
Laurie apologizes to Meg in the past, and they end the moment with a charming dance.
Parallel F: Meg is now poor.
Laurie again apologizes, this time in the present to Amy while last time it was in the past with Meg. But the result of the apology is more complicated this time, with a revelation of Amy's economic views on marriage.
Jo nurses Beth in both timelines.
Jo nurses Beth in both timelines.
Parallel G: Beth dies in the present.
Parallel G: Beth recovers in the past.
Parallel H: A sad ceremony in the present.
Parallel H: A happy ceremony in the past.
Parallel I: Jo tries to start a new adventure by accepting Laurie.
Parallel I: Jo hopeful and happy on a new adventure.
Parallel J: Dashwood insists book-Jo gets married.
Parallel J: Book-Jo gets married.
Parallel K: Jo's parallel lives, the one in the book, the one where she writes the book.
deaders
Beth.