Kino again looks into the pearl in an effort to see his future. He and his family are no longer a part of a safe community; instead, they become objects of a primitive hunt. As he inches within a short distance from the tracker with the rifle the others are sleeping , the moon begins to rise, and Kino is desperate. Kino kills all three men before hearing Juana's hysterical cry. Notice that these ideas are expressed in a one-to-one relationship. They walked straight ahead through the town. Kino wears his hat tilted aggressively forward.
Their faces were tired and tight and seemed as though protected by magic, having surpassed human emotion. The men who attack Kino are never named and their origins are never revealed; although Kino suspects that they are the agents of the pearl dealers. In the old days, the pearl buyers competed against each other so that the fisherman could receive a good price. Now the pearl returns to nature, where it belongs, and Kino and Juana symbolically reject the world into which the pearl thrust them. Kino awakes in the middle of the night to see Juana arise from the bed mat, go over to the fireplace, pause by Coyotito, and then exit through the door. The music of the pearl begins to mingle with the Song of Evil and the sinister melody plays on in his head.
Kino orders Juana and Coyotito to leave him, for he can go faster alone, but she staunchly refuses. As Kino attempts to flee the scene of his crime a new calamity starts up. Juan's wife Apolonia is particularly inconsolable. Although it seems to indict Kino for his attempts to gain the fortune that the pearl offers, it offers equal if not greater censure to the elites of La Paz who attempt to exploit Kino and thwart his attempts to sell the pearl. Finally, now that the pearl has run its course of evil, has destroyed Coyotito for whom they held all those dreams the pearl might have made possible, Kino and Juana rid themselves of the pearl and all its associations. Kino chases Juana, then strikes her in the face with his clenched fist and kicks her in the side. As she is making her way back home Juana sees the pearl on the ground, when she bends to pick it up she notices two bodies in the road, she realizes the one of them is Kino, and the other is a man that he has killed.
It reflects images of his burning hut, the eyes of the man he killed with the rifle, and Coyotito in the dark cave with the top of his head ripped away by a bullet. From inside, they hear the cries of their friends watching their burning house outside, including Apolonia. Their suffering has removed traditional barriers and has made them equal. The change in Kino from a man into an animal is indicated by the changing meanings of the pearl and other things important to Kino. While hiding in the cave, Kino finds that the trackers are by the stream. Kino dives for pearls and discovers an amazing, perfect pearl the size of a sea gull's egg.
He tells Juana that when the trackers follow the false trails, they can then slip away down to the lowlands again. Kino and Juana collect their belongings and flee with Coyotito through the undergrowth, making no effort to conceal their tracks. When Juana awakes it was extremely hot and dry. Apolonia returns to the house to exchange her shawl and finds them there. The narration begins to speak of the town of La Paz, and how everyone in it remembers the return of the family.
In the cave, Coyotito grows restless, and Juana quiets him. Simultaneously, Juana is has freed herself from the rocky shore and is stumbling up the beach. He tells his wife to keep Coyotito quiet. Creeping forward, he spots a trio of trackers pursuing their trail. It falls to the bottom and is covered by a cloud of sand. Kino pictures the position of the men, and then returns to Juana and informs her that he plans to attack the tracker with the rifle first.
When the moon appears, the wind dies, and they follow the tracks of a cart, so that the first vehicle in the morning would cover their tracks. When Juana rises, she asks Kino if he thinks they will be pursued. She looks at her husband in acute terror, but bares his teeth and hisses at her. He scrambled back to Juana and the baby, and urged them to come with him. All of the onlookers knew, as Kino and Juana, did that a child as young as Coyotito could easily die from the scorpion sting. He doesn't have a choice but to kill them.
He places Juana and Coyotito in one of these small caves, then he returns to the spring and makes all sorts of false trails up the other side of the mountain. Suddenly, he sees the trackers who are following him — two men on foot, following his tracks and one man on horseback carrying a rifle, which shines in the reflection of the sun. The caring father and partner of the first chapter at this point in the story attacks Juana when she attempts to take the pearl. More specifically, the spring is described in terms of a place of rest and of life. Kino attacks only in self-defense, to fight against evil, but every time he does so the evil only grows. This anonymity is significant, for the men who assault Kino symbolize a more generalized evil' than the specific villainy of the pearl dealer or the doctor. The shawl is encrusted with dried blood, and her face is weary and tight.