Margo and Quentin also bond over their analysis of the people on whom Margo is taking revenge. Margo and Quentin stylize themselves as ninjas for the night, outside of normal society and able to have a fresh perspective on the world. Margo quite literally dresses up like a ninja, in all black, to play the role. A big part of Margo’s overall goal for the evening is to show how ridiculous life in the suburbs is. When she and Quentin look down over Orlando, she calls the whole city a “paper town,” meaning, in this use of the term, that everyone who lives there is fake and that nobody leads lives of substance. By including Quentin on her journey, Margo plucks him out of the paper town and pulls him into her perception of herself as an outside observer. Now, it appears that it’s Margo and Quentin against the world.

Quentin has clues about some of the events to come based on the supplies that he and Margo purchase together, but Margo reveals herself to have more tricks up her sleeve, since she’s been preparing for this night long before she roped Quentin into the plan. Quentin was part of Margo’s plan long before she let him know about it. Indeed, throughout the whole road trip, Margo is prepared for elements that take Quentin completely by surprise. Not only has she planned for all the anticipated obstacles, she is ready for the apparently unanticipated as well. When they break into Sea World and a security guard shows up immediately, Quentin panics, assuming that they’ll be thrown in jail, but Margo knows exactly what to do, coolly pulling out a hundred-dollar bill. What is unexpected to Quentin is usually expected to Margo.

Even though parts of Margo’s plot seem random or spontaneous, Margo’s adventure is very thoroughly mapped out. There is method to her madness. Breaking into Sea World doesn’t seem to fit the pattern of the evening or help Margo get revenge on anyone in particular. Yet it’s precisely because Sea World seems unpredictable and doesn’t fit Margo’s pattern that makes it part of a classic Margo plot. Part of Margo’s pattern is to be unpredictable and to add final unexpected twists that ultimately fit into the whole picture. Sneaking into the theme park doesn’t rain justice upon those who have wronged her, but it allows Margo to deepen her bond with Quentin, which has been the implicit purpose of the adventure the whole time.

Visiting Sea World also perpetuates one of the other underlying themes of the evening, which is observing others’ homes and making observations about their own lives through this. Each house on which Margo and Quentin leave their marks represents some kind of home that Margo feels she lacks, for better or for worse. Sea World, ironically, is a more real home for the animals than the soulless McMansions and sprawling subdivisions are for the humans. Even though Sea World is a theme park, the animals there are much more honest and real than the fake people that Margo despises.

When Margo and Quentin return home, the way they get back into their rooms is symbolic of their relationship with their respective families and with their own homes. Margo climbs back up a tree and sneaks in through the window. Quentin, on the other hand, saunters through his unlocked front door and goes upstairs to his room. Margo has to enter her own home as though she’s breaking in, mirroring the night’s events and suggesting that she feels like an intruder inside her own house. This implies that perhaps she no longer considers her house as her home.

There’s also something deeply romantic and whimsical about entering one’s bedroom through a tree. Margo follows in the footsteps of a long tradition of climbing fictional heroines, from Scout in To Kill a Mockingbird to Harriet in Louise Fitzhugh’s Harriet the Spy to Joey in the television series Dawson’s Creek. Margo probably doesn’t have to climb a tree to get back into her house, but the effect is much more glamorous than simply entering and tiptoeing past her dog. Quentin, however, isn’t concerned with effects and with looking glamorous. When Quentin goes back home, he feels comfortable returning to his normal life and to his routine. Walking straight through the open front door symbolizes that Quentin feels like his house is indeed a welcoming home, and that he doesn’t have to sneak around to avoid his family. Margo is searching for homes elsewhere, but for Quentin, home is right back where he started.