Fox Mulder and Dana Scully both worked at the FBI as partners, a bond between them that led to their becoming lovers. But now they're out of the FBI and have gone their separate ways. Scully works as a staff physician at a Catholic hospital. Her focus these days is on a young boy with an incurable brain disease. Administration wants to give up on him. Scully, who feels a special bond with the boy, does not. Meanwhile, Mulder's focus is on clipping newspaper articles about the paranormal and throwing pencils into his ceiling. Scully and Mulder are brought together again when a special case requires Mulder's expertise, and Scully is prevailed upon to find him. The case involves a pedophile priest who claims he is having psychic visions regarding the whereabouts of a missing FBI agent.

Gillian Anderson told The New York Times that it was harder than she expected for her to get back into character as Scully to make this movie after five years had passed since the end of the television show. The Times quoted her as saying, "I walked in thinking, it's going to be like riding a bicycle. It wasn't. It was like riding a [fucking] unicycle. I'd been trying so hard to stretch myself in other roles, and to catch myself when I did anything that remotely resembles Scully, that when I was put back in the ring with her, my brain started misfiring."

Margaret Fearon:
If you were a mother, Dr. Scully, you would understand.

Continuity: Near the end of the movie, Scully's white Ford Taurus is parked outside, even though it had been wrecked earlier in the film. When Scully comes out of the house, a silver Ford Fusion is parked outside.

Written by Deborah Poppink and Amy Roegler
Performed by Deborah Poppink
Courtesy of Deborah Poppink, by arrangement with Bug
(can be heard in Monica Bannan's car)