But the moment is past. Crystal's got all manner of shit to deal with, which she's been saying, but in such vague language it's not surprising he never heard: "It ain't. I wanted to just get a taste of something I could remember forever, but..." She starts crying, which just pisses her off more. He tries desperately to get her back in the moment, applying every Jason trick he's got and making up more on the fly: "Hey, there's no reason for you to cry! Not when you're with me." He promises to take care of her, but it's just another written exam: The connection between them is electric, so this is a right choice, and by making right choices and committing to them, he will become a man. To love is to bury. It's a tale as old as time.
Crystal arches her back suddenly -- God, is she a dancer? That was beautiful -- and sniffs the air, realizing they are in trouble and she needs to bounce with a quickness. "Keep it down," she hisses at his complaints, and helps him stand up. The most interesting line here -- again in response to a meaningless romantic "I ain't letting you go!" -- is this: "Ain't nobody owns me!" There was already a certain amount of Green Mansions in this story, but the idea -- that Crystal, who is in fact "owned" in many ways by the Hotshot community -- is encapsulated here. So then what does that mean for Jason?
If we're following the chaos/control beats, Jason now has at least two reasons to pursue Crystal: First, for his own tainted concept of self-control to have a focus, but now also to rescue her, and by preserving her wildness* find a way to hold onto his own. As a straight white man he has no concept of being contained like that, but he does know there is a better version of himself trying to get out, so -- later, once he sees her life -- he'll have to cast himself as a fairytale prince, riding in on his white horse.
Which in turn accomplishes the third, unmentionable, goal, which is restoring his image of himself as Hero, which was never stronger than in the moment right before he killed Eggs, and never weaker than in the moment right after.
Go with what you know, but by linking her to the crime life in Hotshot this becomes a valid way of accomplishing both his personal and his lifestyle goals in a way that confirms his masculinity, which is the point of the exercise. However, as a straight white man, he also has no real concept of what to do if/when that goal is compromised, which means any hitch in the road sends him spiraling off into self-sabotage: Newer, weirder repressive places, where exercising control becomes more important than finding it, and where taking down Kitch, the Bon Temps definition of a Hero -- a label he had and lost well before Eggs, when he grew too old and didn't notice he'd done so -- becomes, for him as it once was for Andy Bellefleur, the next best thing.