Outside, the posse and Paul can hear Marie scream.
Inside, Kevin takes a big meaty bite of Marie's shoulder.
Later, Doggett and Skinner arrive at the Hangemuhl house, too late for dinner. Paul wearily answers the door with a rag in his hand. He tells them that he wants to go to bed, so if they could just conduct their business later....Doggett hypothesizes that Paul knows why Mulder shot someone in his living room, and that Marie knows, too. Paul looks stressed and tired, and tells them to get the hell out of his house. Skinner, crafty man that he is, decides that he'd like to talk to Marie. He spots a small pool of blood in the corner of the living room and glances at Doggett. "Looks like you missed a spot, Mr. Hangemuhl," Doggett snarls.
Deep in the catacombs beneath the town (I know; who knew there were catacombs? I'm just relaying what I see here, people), Kevin, doubled up, retches. The camera pulls back to reveal that Kevin is vomiting. Vomiting up Marie. Vomiting her up into a cookie cutter woman shape. Gnarly.
Back at the Hangemuhl's, the Sheriff arrives with crime scene investigators right behind him. The Oboe of Regurgitated Wives wails piteously in the background.
Flashbacktastic! Mulder gets out of his own Sensible Car, in the rain. It's just like the opening scene, but this time we get to see Duchovny's face. He walks into the Hangemuhls' house, sees Marie looking frightened, and discharges his weapon.
Back in the present time, Doggett and Skinner continue to discuss the case, as forensic experts swarm around them. Doggett tells Skinner that Paul is adamant that he never hurt his wife. Skinner's not surprised that Paul is denying everything, but Doggett buys his story. He tells Skinner that he doesn't think Mulder would kill anyone unless he was doing it to protect someone else. He thinks that Mulder was trying to save Marie from the man in the now empty grave. Skinner looks thoughtful, and tells Doggett that the CSI found something he better take a look at: the symbol Paul painted in blood on the front door. Skinner and Doggett put two and two together and realize that this symbol is also the one on the grave.
Because they don't want to call Scully, or something, Skinner and Doggett fire up the laptop and teleconference with the Lone Gunmen, who are in their jammies. They wearily inform Skinner and Doggett that they learned what they could about the symbol on such short notice. Doggett takes them in. "You wearing pants, Langly?" he asks. Langly looks abashed. "Uh, yeah," he says, and scoots out of camera angle. Okay, okay: hee! Byers informs the boys that the symbol is probably what is known as a medicine wheel, a symbol for healing associated with Native American shaman. The symbol represents the continuum between life and death, sorrow and happiness. But why was it painted on the door? Langly strides back into the shoot, buttoning up his pants. "That's the part that calls for conjecture, Agent Dogbird," he says, explaining that legend has it that the shaman -- what is known as a "soul-eater" -- can minister to the sick and literally consume their illnesses. The symbol is painted on the door of a sick person's house as a summons. Doggett tells Skinner that the man in the empty grave must have been a shaman. He bids the Gunmen farewell and hops into the Sensible Car, leaving Skinner behind to deal with Paul Hangemuhl and the CSI.