Paper Towns(40)

“Nothing but the Troll Holes,” Ben answers. It’s a tomb, everything wrapped in dust.

“So why did she lead us here?” asks Radar. We are speaking now.

“Dunno,” I say. She is clearly not here.

“There are some spots,” Radar says, “with less dust. There’s a dustless rectangle in the empty room, like something was moved. But I don’t know.”

“And there’s that painted part,” Ben says. Ben points and Radar’s flashlight shows me that a piece of the far wall in this office has been brushed over with white primer, like someone got the idea to remodel the place but abandoned the project after half an hour. I walk over to the wall, and up close, I can see that there’s some red graffiti behind the white paint. But I can only see occasional hints of the red paint bleeding through—not nearly enough to make anything out. There’s a can of primer up against the wall, open. I kneel down and push my finger into the paint. There’s a hard surface, but it breaks easily, and my finger comes up drenched in white. As the paint drips off my finger, I don’t say anything, because we’ve all come to the same conclusion, that someone has been here recently after all, and then the building creaks again and Radar drops the flashlight and curses.

“This is freaky,” he says.

“Guys,” Ben says. The flashlight is still on the ground, and I take a step back, to pick it up, but then I see Ben pointing. He is pointing at the wall. A trick of the indirect light has made the graffiti letters float up through the coat of primer, a ghost-gray print I recognize immediately as Margo’s.

YOU WILL GO TO THE PAPER TOWNS

AND YOU WILL NEVER COME BACK





I pick up the flashlight and shine it on the paint directly, and the message disappears. But when I shine it against a different part of the wall, I can read it again. “Shit,” Radar says under his breath.

And now Ben says, “Bro, can we go now? Because the last time I was this scared . . . screw it. I’m freaked out. There’s nothing funny about this shit.”

There’s nothing funny about this shit is the closest Ben can come to the terror I feel, maybe. And it is close enough for me. I fast-walk toward the Troll Hole. I can feel the walls closing in on us.





19.



Ben and Radar dropped me off at my house—even though they’d skipped school, they couldn’t afford to skip band practice. I sat alone with “Song of Myself” for a long time, and for about the tenth time I tried to read the entire poem starting at the beginning, but the problem was that it’s like eighty pages long and weird and repetitive, and although I could understand each word of it, I couldn’t understand anything about it as a whole. Even though I knew the highlighted parts were probably the only important parts, I wanted to know whether it was a suicide-note kind of poem. But I couldn’t make sense of it.

I was ten confusing pages into the poem when I got so freaked out that I decided to call the detective. I dug his business card out of a pair of shorts in the laundry hamper. He answered on the second ring.

“Warren.”

“Hi, um, it’s Quentin Jacobsen. I’m a friend of Margo Roth Spiegelman?”

“Sure, kid, I remember you. What’s up?”

I told him about the clues and the minimall and about paper towns, about how she had called Orlando a paper town from the top of the SunTrust Building, but she hadn’t used it in the plural, about her telling me that she wouldn’t want to be found, about finding her underneath our bootsoles. He didn’t even tell me not to break into abandoned buildings, or ask why I was at an abandoned building at 10 A.M. on a school day. He just waited until I stopped talking and said, “Jesus, kid, you’re almost a detective. All you need now is a gun, a gut, and three ex-wives. So what’s your theory?”

“I’m worried that she might have, um, I guess killed herself.”

“It never crossed my mind this girl did anything but run off, kid. I can see your case, but you gotta remember she’s done this before. The clues, I mean. Adds drama to the whole enterprise. Honestly, kid, if she wanted you to find her—dead or alive—you already would have.”

“But don’t you—”

“Kid, the unfortunate thing is that she’s a legal adult with free will, you know? Let me give you some advice: let her come home. I mean, at some point, you gotta stop looking up at the sky, or one of these days you’ll look back down and see that you floated away, too.”





I hung up with a bad taste in my mouth—I realized it wasn’t Warren’s poetry that would take me to Margo. I kept thinking about those lines at the end Margo had underlined: “I bequeath myself to the dirt to grow from the grass I love, / If you want me again look for me under your bootsoles.” That grass, Whitman writes in the first few pages, is “the beautiful uncut hair of graves.” But where were the graves? Where were the paper towns?

I logged onto Omnictionary to see if it knew anything more about the phrase “paper towns” than I did. They had an extremely thoughtful and helpful entry created by a user named skunkbutt: “A Paper Town is a town that’s got a paper mill in it.” This was the shortcoming of Omnictionary: the stuff written by Radar was thorough and extremely helpful; the unedited work of skunkbutt left something to be desired. But when I searched the whole Web, I found something interesting buried forty entries down on a forum about real estate in Kansas.