Chapter 24: The Spiral Murder and Nash's Invitation

Spoiler Warning

This page reveals key plot points from Chapter 24 of Badlands. If you haven’t read the chapter, proceed with caution.

Summary

Skip arrives at Edison Nash’s expansive mansion, still daunted by the wealth of a man only a few years older than himself. Nash welcomes him inside to the study, where a kiva fireplace crackles and a full margarita setup waits on the coffee table. As Nash mixes reposado tequila, Cointreau, fresh lime juice, and ice, the two men settle into a comfortable ritual. They toast and Skip takes a restrained sip, mindful of the brutal hangover from their last encounter.

Nash launches into what he has uncovered since their previous meeting. Driven by curiosity about the Gallina ruins and the green lightning stones—prasiolite—his sister mentioned, Nash pored over Frank Hibben’s book and his own grandfather’s notes. He discovered that his grandfather had actually camped in the Gallina canyons with Hibben himself during the 1930s, a time when informal digging was common. Nash posits that the prasiolite crystals in his collection may have come directly from those early explorations.

Even more striking is the bizarre unsolved murder Nash unearthed. Twelve years earlier, river rafters found a body washed down the Gallina River. The victim was a middle-aged man, beaten and stabbed. The autopsy revealed a spiral symbol carved into his belly postmortem. Nash hands Skip a photograph of the half-decayed corpse on the gurney, showing the unsettling marking. No one ever identified the man, his purpose in the canyon, or his killer. The spiral, reminiscent of ancient petroglyphs, adds a layer of ritualistic menace to the crime.

The conversation turns lighter as Skip shares memories of his father, a treasure-hunter who dragged the kids into the desert and taught him Tin Pan Alley songs on a vintage 1930s Martin ukulele. Nash reciprocates by unveiling a beautifully crafted replica of an Anasazi bone flute. He explains that he had three original flutes dismantled—sacrificed so a luthier in Denver could extract the exact interior measurements and finger-stop geometry. Only the carved mouthpiece of the finest one was saved and incorporated into the new instrument. Nash plays a few plaintive bars, and Skip is impressed but inwardly troubled by the destruction of the genuine artifacts.

Nash seizes the moment to propose an adventure: a camping and backpacking trip into the remote Gallina canyons. He imagines they will bring the ukulele and flute, scout for prasiolite, and poke around the ruins—nothing illegal, just personal investigation. Skip’s instinct is to shout yes, but he hesitates. He knows Nora, his boss at the Santa Fe Archaeological Institute, already views Nash as a bad influence. Going on an unsanctioned outing with a wealthy collector to ancient sites could put his job and reputation at risk. He asks for a day to sort out his work schedule. Nash, visibly eager, agrees but warns he may grow impatient and head out alone. They clink glasses again, sealing what feels like a fateful pact.

Key Events

• Nash prepares margaritas and shares the results of his recent research.
• He reveals that his grandfather accompanied Frank Hibben on Gallina explorations in the 1930s.
• Nash describes a twelve-year-old cold case: a murdered man with a postmortem spiral carving, found in the Gallina River.
• Skip views the graphic autopsy photo of the spiral.
• Skip talks about his father’s treasure-hunting legacy and his beloved Martin ukulele.
• Nash shows off a playable replica of an Anasazi flute, made by destroying three original instruments.
• Nash proposes a camping trip to Gallina canyons to hunt for prasiolite and uncover mysteries.
• Skip demurs, asking for a day to arrange his schedule, while Nash warns he may go solo if Skip delays.

Character Development

Skip

Skip’s internal conflict sharpens. He is genuinely thrilled by Nash’s proposal and the camaraderie, yet he remains aware of the professional line he is expected to walk. His admiration for Nash’s wealth and cleverness wars with his loyalty to Nora and the Institute’s ethical code. The flute incident—watching three ancient artifacts destroyed for one playable copy—nudges him into moral discomfort, even though he keeps his objection to himself. His request for a day to check his work schedule shows a growing self-awareness, but his indulgence in the tequila hints that he may be easily swayed once pressure mounts.

Edison Nash

Nash’s methods become more transparent. He does not merely collect artifacts; he believes the ends justify dismantling historic objects for personal pleasure. His casual treatment of the spiral murder as a fascinating puzzle, complete with a grisly photograph obtained through shadowy channels, reinforces his moral ambiguity. His impatience—he all but threatens to go exploring alone if Skip stalls—exposes the demanding, manipulative side beneath the friendly host. The chapter paints him as a seductive figure whose charm often masks a ruthless focus on his own desires.

Themes, Symbols, or Motifs

• Prasiolite (Green Lightning Stones): The gems act as a tangible lure, connecting historical digs, family secrets, and the promise of undiscovered wealth deep in the Gallina backcountry.
• The Spiral Carving: The postmortem spiral on an unknown victim functions as a mystery that marries prehistoric symbolism with modern violence. It suggests ritualistic motives and links the region’s ancient past to a present danger.
• Destruction for Creation: Nash dismantles three irreplaceable Anasazi flutes to build a single playable replica. This motif underscores the ethical friction between private collecting and archaeological preservation—and foreshadows the potential cost of Nash’s treasure-hunting mindset.
• Alcohol as Social Lubricant (and Trap): The carefully prepared margaritas lower Skip’s guard. Each round of toasts makes Nash’s proposals sound more reasonable, illustrating how impaired judgment can tip pivotal decisions.
• Campfire Brotherhood: The idea of playing ukulele and flute under the stars paints adventure in romantic hues. It masks the more serious legal and ethical trespasses that the trip could entail.

Why This Chapter Matters

Chapter 24 pivots the narrative toward a physical expedition into the heart of the mystery. Nash’s research introduces a new, grisly crime—the spiral murder—that suggests the Gallina canyons harbor threats beyond simple artifact hunting. The chapter cements Nash as both a catalyst and a liability: his resources and enthusiasm can propel the investigation, but his disregard for rules and boundaries puts Skip (and potentially others) at risk. For Skip, the invitation crystallizes a choice between professional duty and the seductive pull of discovery. The flute’s creation serves as a miniature of the larger dynamic: Nash is willing to break precious things to obtain what he wants, and Skip must decide how close he wants to stand to that fire.

Study Questions and Answers

1. What does the spiral-carved murder symbolize, and why is it significant to the novel’s mystery?
   The spiral, a motif appearing in ancient petroglyphs, hints that the killing was not random but ritualistic. Its presence on a modern corpse links the landscape’s prehistoric secrets to a present-day crime, suggesting that the Gallina canyons may hide a pattern of violence that stretches across centuries. This thread deepens the stakes: the search for prasiolite is no longer just a treasure hunt but could intersect with something far darker.

2. Why does Skip hesitate to accept Nash’s camping invitation immediately?
   Despite his eagerness, Skip recognizes that his employer, Nora Kelly, distrusts Edison Nash. An unauthorized trip with a private collector to sensitive archaeological sites could damage Skip’s standing at the Santa Fe Institute and violate ethical boundaries. Additionally, watching Nash cavalierly destroy three historical flutes for a personal replica plants a seed of unease. Skip’s hesitation reflects his internal struggle between loyalty and ambition.

3. How does Nash’s approach to the Anasazi flute illustrate his broader character?
   Nash treats ancient objects as resources for his own enjoyment rather than as communal heritage. Instead of preserving or studying the original flutes, he sacrifices three of them to produce a single perfect replica. This demonstrates his immense wealth, his sense of entitlement, and his belief that rules are meant to be bent. It foreshadows the way he may approach the Gallina expedition: as a playground where personal discovery outweighs cultural or legal considerations.

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