“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 it.”
“Who did it?”
She laughs. “You want me to spoil the entire story for you?”
“Well,” I say, “I’d rather read it.” She pulls open the book and shows me a page. The writing is indecipherable, not because Margo’s handwriting is bad, but because on top of the horizontal lines of text, writing also goes vertically down the page. “I write crosshatch,” she says. “Very hard for non-Margo readers to decode. So, okay, I’m going to spoil the story for you, but first you have to promise not to get mad.”
“Promise,” I say.
“It turns out that the crime was committed by Robert Joyner’s alcoholic ex-wife’s sister’s brother, who was insane because he’d been possessed by the spirit of an evil ancient Egyptian house cat. Like I said, really top-notch storytelling. But anyway, in the story, you and me and Myrna Mountweazel go and confront the killer, and he tries to shoot me, but you jump in front of the bullet, and you die very heroically in my arms.”
I laugh. “Great. This story was all promising with the beautiful girl who has a crush on me and the mystery and the intrigue, and then I get whacked.”
“Well, yeah.” She smiles. “But I had to kill you, because the only other possible ending was us doing it, which I wasn’t really emotionally ready to write about at ten.”
“Fair enough,” I say. “But in the revision, I want to get some action.”
“After you get shot up by the bad guy, maybe. A kiss before dying.”
“How kind of you.” I could stand up and go to her and kiss her. I could. But there is still too much to be ruined.
“So anyway, I finished this story in fifth grade. A few years later, I decide I’m going to run away to Mississippi. And then I write all my plans for this epic event into this notebook on top of the old story, and then I finally do it—take Mom’s car and put a thousand miles on it and leave these clues in the soup. I didn’t even like the road trip, really—it was incredibly lonely— but I love having done it, right? So I start crosshatching more schemes—pranks and ideas for matching up certain girls with certain guys and huge TPing campaigns and more secret road trips and whatever else. The notebook is half full by the start of junior year, and that’s when I decide that I’m going to do one more thing, one big thing, and then leave.”
She’s about to start talking again, but I have to stop her. “I guess I’m wondering if it was the place or the people. Like, what if the people around you had been different?”
“How can you separate those things, though? The people are the place is the people. And anyway, I didn’t think there was anybody else to be friends with. I thought everyone was either scared, like you, or oblivious, like Lacey. And th—”
“I’m not as scared as you think,” I say. Which is true. I only realize it’s true after saying it. But still.
“I’m getting to that,” she says, almost whiningly. “So when I’m a freshman, Gus takes me to the Osprey—” I tilt my head, confused. “The minimall. And I start going there by myself all the time, just hanging out and writing plans. And by last year, all the plans started to be about this last escape. And I don’t know if it’s because I was reading my old story as I went, but I put you into the plans early on. The idea was that we were going to do all these things together—like break into SeaWorld, that was in the original plan—and I was going to push you toward being a badass. This one night would, like, liberate you. And then I could disappear and you’d always remember me for that.
“So this plan eventually gets like seventy pages long, and then it’s about to happen, and the plan has come together really well.
But then I find out about Jase, and I just decide to leave. Immediately. I don’t need to graduate. What’s the point of graduating? But first I have to tie up loose ends. So all that day in school I have my notebook out, and I’m trying like crazy to adapt the plan to Becca and Jase and Lacey and everyone who wasn’t a friend to me like I thought they were, trying to come up with ideas for letting everyone know just how pissed off I am before I ditch them forever.
“But I still wanted to do it with you; I still liked that idea of maybe being able to create in you at least an echo of the kick-ass hero of my little-kid story.
“And then you surprise me,” she says. “You had been a paper boy to me all these years—two dimensions as a character on the page and two different, but still flat, dimensions as a person. But that night you turned out to be real. And it ends up being so odd and fun and magical that I go back to my room in the morning and I just miss you. I want to come over and hang out and talk, but I’ve already decided to leave, so I have to leave. And then at the last second, I have this idea to will you the Osprey. To leave it for you so that it can help you make even further progress in the field of not-being-such-a-scaredy-cat.
“So, yeah. That’s it. I come up with something real quick. Tape the Woody poster to the back of the blinds, circle the song on the record, highlight those two lines from “Song of Myself” in a different color than I’d highlighted stuff when I was actually reading it. Then after you leave for school, I climb in through your window and put the scrap of newspaper in your door. Then I go to the Osprey that morning, partly because I just don’t feel ready to leave yet, and partly because I want to clean the place up for you. I mean, the thing is, I didn’t want you to worry. That’s why I painted over the graffiti; I didn’t know you’d be able to see through it. I ripped off the pages of the desk calendar I’d been using, and I took down the map, too, which I’d had up there ever since I saw that it contained Agloe. Then because I’m tired and don’t have anyplace to go, I sleep there. I end up there for two nights, actually, just trying to get my courage up, I guess. And also, I don’t know, I thought maybe you would find it really quickly somehow. Then I go. Took two days to get here. I’ve been here since.”
She seemed finished, but I had one more question. “And why here of all places?”
“A paper town for a paper girl,” she says. “I read about Agloe in this book of ‘amazing facts’ when I was ten or eleven. And I never stopped thinking about it. The truth is that whenever I went up to the top of the SunTrust Building—including that last time with you—I didn’t really look down and think about how everything was made of paper. I looked down and thought about how I was made of paper. I was the flimsy-foldable person, not everyone else. And here’s the thing about it. People love the idea of a paper girl. They always have. And the worst thing is that I loved it, too. I cultivated it, you know?
“Because it’s kind of great, being an idea that everybody likes. But I could never be the idea to myself, not all the way. And Agloe is a place where a paper creation became real. A dot on the map became a real place, more real than the people who created the dot could ever have imagined. I thought maybe the paper cutout of a girl could start becoming real here also. And it seemed like a way to tell that paper girl who cared about popularity and clothes and everything else: ‘You are going to the paper towns. And you are never coming back.’”
“That graffiti,” I said. “God, Margo, I walked through so many of those abandoned subdivisions looking for your body. I really thought—I really thought you were dead.”
She gets up and searches around her backpack for a moment, and then reaches over and grabs The Bell Jar, and reads to me.
“‘But when it came right down to it, the skin of my wrist looked so white and defenseless that I couldn’t do it. It was as if what I wanted to kill wasn’t in that skin or the thin blue pulse that jumped under my thumb, but somewhere else, deeper, more secret, and a whole lot harder to get at.’” She sits back down next to me, close, facing me, the fabric of our jeans touching without our knees actually touching. Margo says, “I know what she’s talking about. The something deeper and more secret. It’s like cracks inside of you. Like there are these fault lines where things don’t meet up right.”
“I like that,” I say. “Or it’s like cracks in the hull of a ship.”
“Right, right.”
