This page mirrors and inverts the previous one, performing a gradual shift of focus from the framed panels to the liminal space in between. This transformation starts from the top left of the page in a diagonal progression across the page to the lower half.
The top left panel is fully framed in ruled lines, but the ones to the immediate right and down are only partially outlined. Further to the right and down, frames are left open to the page margins, whereas the "gaps" where gutters would open into the margin are instead closed.
The negative shape expands to encroach on inner panels the farther down the page the transformation progresses, and ruled lines change first into wobblier, freehand contours, then into organic, wavy outlines.

In the upper half of the page, text lines mimicking printed type follow the paths of the original gutters, horizontally and vertcally, intersecting and bifurcating:
Vertically from the top left gutter: "Reading ["between" intersects horizontally at the shared n] the lines"
and, continuing again from the top centre vertical gutter: "implies ["density of meaning" intersects horizontally through the e in "implies" and "density"] a"
The same text path bends horizontally to the right, continuing "structure"
Vertically, to the right: "accessed through", intersecting with "structure" through the first e of "accessed".
Horizontally, below and divided into two staggered lines: 
"the gaps it
	leaves open", intessecting with previous vertical line through the o in "through" and "open".

In the lower left half of the page, the increasing negative space is littered with informal map signatures, indicating hills or mountains northeast of those last textlines, with grass to the southeast and forest southwest of it. 
At the bottom left of the page, where the outline has taken on characteristics of a coastline, and a peninsula of the former gutter now defines a bay, closed to the south by another, slimmer spit of land. Along a wavy baseline, crossing these three map features, in handwriting emulating old fashioned capitals, the paraphrase "HIC SVNT LACVNAE".

In plain handwriting aling one curving S-shape beginning at the leftmost, open panel, around the vertical centre of the page, and looping to its end around the forest in the lower middle, a sentence begins:
"THIS ISN'T YOU WATCHING ME GO ON A TREASURE HUNT."
It continues at the upper left of the page, in a question mark shaped path spiraling inward toward a stylized "X", like one would expect on a treasure map:
"IT'S YOU AND ME PLAYING HIDE AND SEEK."