Paper Towns

sure that even after you left to go have your fun, you were still the axis we spun around.”

She’s screaming back, louder than I thought possible. “You’re not even pissed at me, Q! You’re pissed at this idea of me you keep inside your brain from when we were little!”

She tries to turn away from me, but I grab her shoulders and hold her in front of me and say, “Did you ever even think about what your leaving meant? About Ruthie? About me or Lacey or any of the other people who cared about you? No. Of course you didn’t. Because if it doesn’t happen to you, it doesn’t happen at all. Isn’t that it, Margo? Isn’t it?”

She doesn’t fight me now. She just slumps her shoulders, turns, and walks back to her office. She kicks down both of the Plexiglas walls, and they clamor against the desk and chair before sliding onto the ground. “SHUT UP SHUT UP YOU ASSHOLE.”

“Okay,” I say. Something about Margo completely losing her temper allows me to regain mine. I try to talk like my mom. “I’ll shut up. We’re both upset. Lots of, uh, unresolved issues on my side.”

She sits down in the desk chair, her feet on what had been the wall of her office. She’s looking into a corner of the barn. At least ten feet between us. “How the hell did you even find me?”

“I thought you wanted us to,” I answer. My voice is so small I’m surprised she even hears me, but she spins the chair to glare at me.

“I sure as shit did not.”

“‘Song of Myself,’” I say. “Guthrie took me to Whitman. Whitman took me to the door. The door took me to the mini-mall. We figured out how to read the painted-over graffiti. I didn’t understand ‘paper towns’; it can also mean subdivisions that never got built, and so I thought you had gone to one and were never coming back. I thought you were dead in one of these places, that you had killed yourself and wanted me to find you for whatever reason. So I went to a bunch of them, looking for you. But then I matched the map in the gift shop to the thumbtack holes. I started reading the poem more closely, figured out you weren’t running probably, just holed up, planning. Writing in that notebook. I found Agloe from the map, saw your comment on the talk page of Omnictionary, skipped graduation, and drove here.”

She brushes her hair down, but it isn’t long enough to fall over her face anymore. “I hate this haircut,” she says. “I wanted to look different, but — it looks ridiculous.”

“I like it,” I say. “It frames your face nicely.”

“I’m sorry I was being so bitchy,” she says. “You just have to understand — I mean, you guys walk in here out of nowhere and you scare the shit out of me—”

“You could have just said, like, ‘Guys, you are scaring the shit out of me,’” I said.

She scoffs. “Yeah, right, ’cause that’s the Margo Roth Spiegelman everybody knows and loves.” Margo is quiet for a moment, and then says, “I knew I shouldn’t have said that on Omnictionary. I just thought it would be funny for them to find it later. I thought the cops might trace it somehow, but not soon enough. There’s like a billion pages on Omnictionary or whatever. I never thought. .”

“What?”

“I thought about you a lot, to answer your question. And Ruthie. And my parents. Of course, okay? Maybe I am the most horribly self-centered person in the history of the world. But God, do you think I would have done it if I didn’t need to?” She shakes her head. Now, finally, she leans toward me, elbows on knees, and we are talking. At a distance, but still. “I couldn’t figure out any other way that I could leave without getting dragged back.”

“I’m happy you’re not dead,” I say to her.

“Yeah. Me, too,” she says. She smirks, and it’s the first time I’ve seen that smile I have spent so much time missing. “That’s why I had to leave. As much as life can suck, it always beats the alternative.”

My phone rings. It’s Ben. I answer it.

“Lacey wants to talk to Margo,” he tells me.

I walk over to Margo, hand her the phone, and linger there as she sits with her shoulders hunched, listening. I can hear the noises coming through the phone, and then I hear Margo cut her off and say, “Listen, I’m really sorry. I was just so scared.” And then silence. Lacey starts talking again finally, and Margo laughs, and says something. I feel like they should have some privacy, so I do some exploring. Against the same wall as the office, but in the opposite corner of the barn, Margo has set up a kind of bed — four forklift pallets beneath an orange air mattress. Her small, neatly folded collection of clothes sits next to the bed on a pallet of its own. There’s a toothbrush and toothpaste, along with a large plastic cup from Subway. Those items sit atop two books: The Bell Jar by Sylvia Plath and Slaughterhouse-Five by Kurt Vonnegut. I can’t believe she’s been living like this, this irreconcilable mix of tidy suburbanality and creepy decay. But then again, I can’t believe how much time I wasted believing she was living any other way.

“They’re staying at a motel in the park. Lace said to tell you they’re leaving in the morning, with or without you,” Margo says from behind me. It is when she says you and not us that I think for the first time of what comes after this.

“I’m mostly self-sufficient,” she says, standing next to me now. “There’s an outhouse here, but it’s not in great shape, so I usually go to the bathroom at this truck stop east of Roscoe. They have showers there, too, and the girls’ shower is pretty clean because there aren’t a lot of female truckers. Plus, they have Internet there. It’s like this is my house, and the truck stop is my beach house.” I laugh.

She walks past me and kneels down, looking inside the pallets beneath the bed. She pulls out a flashlight and a square, thin piece of plastic. “These are the only two things I’ve purchased in the whole month except gas and food. I’ve only spent about three hundred dollars.” I take the square thing from her and finally realize that it’s a battery-powered record player. “I brought a couple albums,” she says. “I’m gonna get more in the City, though.”

“The City?”

“Yeah. I’m leaving for New York City today. Hence the Omnictionary thing. I’m going to start really traveling. Originally, this was the day I was going to leave Orlando — I was going to go to graduation and then do all of these elaborate pranks on graduation night with you, and then I was going to leave the next morning. But I just couldn’t take it anymore. I seriously could not take it for one more hour. And when I heard about Jase — I was like, ‘I have it all planned; I’m just changing the day.’ I’m sorry I scared you, though. I was trying not to scare you, but that last part was so rushed. Not my best work.”

As dashed-together escape plans replete with clues go, I thought it was pretty impressive. But mostly I was surprised that she’d wanted me involved in her original plan, too. “Maybe you’ll fill me in,” I said, managing a smile. “I have, you know, been wondering. What was planned and what wasn’t? What meant what? Why the clues went to me, why you left, that kind of thing.”

“Um, okay. Okay. For that story, we have to start with a different story.” She gets up and I follow her footsteps as she nimbly avoids the rotting patches of floor. Returning to her office, she digs into the backpack and pulls out the black moleskin notebook. She sits down on the floor, her legs crossed, and pats a patch of wood next to her. I sit. She taps the closed book. “So this,” she says, “this goes back a long way. When I was in, like, fourth grade, I started writing a story in this notebook. It was kind of a detective story.”

I think that if I grab this book from her, I can use it as blackmail. I can use it to get her back to Orlando, and she can get a summer job and live in an apartment till college starts, and at least we’ll have the summer. But I just listen.

“I mean, I don’t like to brag, but this is an unusually brilliant piece of literature. Just kidding. It’s the retarded wish-fulfilling magical-thinking ramblings of ten-year-old me. It stars this girl, named Margo Spiegelman, who is just like ten-year-old me in every way except her parents are nice and rich and buy her anything she wants. Margo has a crush on this boy named Quentin, who is just like you in every way except all fearless and heroic and willing to die to protect me and everything. Also, it stars Myrna Mountweazel, who is exactly like Myrna Mountweazel except with magical powers. Like, for example, in the story, anyone who pets Myrna Mountweazel finds it impossible to tell a lie for ten minutes. Also, she can talk. Of course she can talk. Has a ten-year-old ever written a book about a dog that can’t talk?”

I laugh, but I’m still thinking about ten-year-old Margo having a crush on ten-year-old me.

“So, in the story,” she continues, “Quentin and Margo and Myrna Mountweazel are investigating the death of Robert Joyner, whose death is exactly like his real-life death except instead of having obviously shot himself in the face, someone else shot him in the face. And the story is about us finding out who did