Grotesque

 
Mulder has already been established as a character with an obsessive personality, but here it gets out of control. We watch as Mulder is pulled into the darkness of this case, becoming nearly inseparable with it to the point where we actually wonder if Mulder really is performing these incredible murders.

I think it was a great episode; very dark. Brooding. Appropriate for an episode that centres around art. The scores was something special too; a lot of original music that hadn't appeared in previous episodes. The direction and the palette were something amazing and by the end of the whole thing, I felt like I'd just watched a movie.

We start with a slideshow, which is always the best way to start. The work of demonic possession, Mulder thinks. They are pulled into this case by a former mentor of Mulder's; considered the Golden Boy at the academy, Mulder was a crushing disappointment to his superiors. Particularly to Patterson aka Red from That 70s Show, who secretly still hopes for the best for Mulder, but has a deep seated disdain for Mulder that really only a father or father figure can appreciate.

Nevertheless, he requests Mulder on this case that has been troubling him for years. The victims' mouths are sliced wide open.

(Why so serious?)

Kind of like how Patterson slices Mulder's ego wide open in front of his partner:

P: So what is it, Mulder? Little green men, evil spirits, hounds of hell?

M: Scully, this is Bill Patterson. He runs the investigative support unit out of Quantico.

S: Yes, I know. Behavioral Science... You wrote the book. It's a honor, sir.

P: Is that what you think, too? That the suspect is possessed by some dark spirit?

S: No, not at all, sir.

P: Funny company you keep then. 

M & S go check out the suspect's studio; every drawing is of the same demonic face. It's creepy enough that even Scully is spooked... by a cat that jumps out at them. Totally embarrassing.

S: I thought it was one of those pictures coming to life. 

Mulder finds gargoyle sculptures with dead bodies inside. He conducts some research at the library and begins his decent into madness. It won't take long before his own apartment is filled with the same demonic drawings. Deeply concerning to Scully, who has tried to track down her partner but with no luck.

Mulder has essentially taken up residence at the studio, and is busy sculpting, almost trance-like. Possessed, maybe. He's attacked by the demon, or maybe someone who's been possessed by it- it slashes his face but doesn't kill him. This is where Scully finds him, and demonstrates a similar single-minded near-obsession- with Mulder's safety.

S: I was scared, Mulder. I didn't know where you were. I kept trying your cell phone but you didn't answer. 

M: Whoever attacked me wasn't a person.

S: Well, did you actually see it? Mulder, maybe you're seeing what you want to see.

M: What makes you think I'd want to see that? I didn't imagine it, Scully. 

S: Look, when I couldn't reach you, I went to your apartment. I saw your new wallpaper. Don't you realize what is happening here, Mulder?

Mulder just brushes her off. She turns her anger to Patterson, accusing him of setting Mulder up for this obsession/possession.

Mulder confronts the suspect; he needs to know how to find this demon, but the suspect tells him that the demon has found him. With Mulder's behaviour you can't help but believe this is true. Especially when Scully discovers the suspect's exacto knife missing from evidence, but at the most recent scene with Mulder's prints all over it.

Skinner calls Scully into his office to talk about it. Their relationship is still quite tense; she's especially uneasy speaking with him about Mulder's current condition when he is clearly a possible suspect of recent murders: 

SK: Do you have any insight into Agent Mulder's current disposition of his mental state?

S: I know Agent Mulder is working very hard on this case at your request, sir.

SK: Are you worried about him, Agent Scully?

S: (unconvincing) No... sir.

SK: Off the record.

(Scully is silent, but looks utterly helpless, betraying her obvious worry)

SK: So am I.

 Scully receives a voicemail from the detective; she tries to call him back but reaches... Mulder? Mulder's returned to the studio and the detective is apparently dead. This does not look good; Scully gets Mulder to confess to handling the exacto in the evidence room, but he insists he never took it. Or he doesn't remember taking it. Scully, always wanting to believe the best of her partner, tells him to stay put.

Long suffering Scully is usually right about that part; Patterson appears suddenly and Mulder realizes that while he may have been completely entranced, he's not the killer. Patterson is.

Scully shows up in time to see Mulder with a gun on Patterson; what exactly is going on here? Patterson knocks he down and makes a break for it; Mulder helps her back up and they pursue. Finally, Mulder takes his shot and takes Patterson out.