Hidden City

James Richards, a statistician, is furious when he receives a film fragment that is not the one he ordered. Sharon, who caused the mix-up, is sacked after the mistake. Sharon then contacts James and reveals a mysterious piece that appears to show an abduction, though the film is registered as classified by the Ministry of Defence.

Sharon reaches out to James and demands his assistance, insisting the film's content is more than a simple error. The clip superficially appears to show a woman being abducted and ends with an instruction to watch The Hedgerows of England. Believing there's a larger, hidden agenda, Sharon asks James to use his credentials to help uncover the truth.

James tracks down the film's initial location to an old tram depot where clues were once kept. Their search, however, proves frustrating as the relevant material has already moved. The pursuit underscores the deliberate secrecy surrounding the footage.

A search of an archive beneath Oxford Street proves disappointing as the film has been relocated again. The absence of the film only tightens the sense that powerful interests are suppressing it. James and Sharon press on, tracing every possible lead.

Their chase leads them to a landfill site where police presence signals trouble. They manage to avoid capture, but the incident makes clear the authorities are on their trail. The landfill becomes a pivot point revealing the film has become a matter of national interest.

The pair reach the Edmonton incinerator and manage to rescue the film moments before it would be burned. The recovered footage is of very poor quality, showing only a dark image of a woman in front of some kind of tribunal. A closing card directs them to seek a new film titled Hop-Picking in Kent.

Viewing the stripped-down footage, the tribunal scene hints at a larger, hidden project and a new target title, Hop-Picking in Kent. The status cards imply a chain of linked films rather than a standalone clip. James and Sharon begin to see their ordinary lives collapsing into a wider conspiracy.

After a drunken night spent at a video duplication service, James wakes in Sharon's house and learns she has a young daughter. The chaotic domestic moment pulls him deeper into the mystery rather than returning him to normal life. He realizes that helping Sharon means risking his own safety and livelihood.

James takes the baby to meet his ex-wife, but two officials corner him, beat him, and demand the whereabouts of the film's records. Shaken, he leaves and hides among the city streets. The confrontation marks the first direct escalation of the power that wants the footage.

James visits his City-based friend Anthony, who warns him to disappear from the case. Anthony privately hints that he himself has been questioned, and when James returns home his house has been searched for the medical records he picked up at the landfill. The safety net around James starts to crumble.

A friend of Sharon uncovers Hop-Picking in Kent and uncovers the full version of the mysterious film, showing a different woman with a man and a deadly emergency. The on-screen events suggest an emergency that leaves the participants dead. The film then leaps forward to document the birth of an abruptly aborted government project named Magnificat.

The woman from the earlier film reappears, now seated in an official building that has reopened as a cafe. James muses that a nuclear accident may have been hushed up and that the cafe once served as a secure convalescent unit. He and Sharon decide to keep the film secret and to hide the records in order to protect themselves and others.

Meanwhile, a cleaner in London stumbles into a secluded room where remnants of Project Magnificat are stored. The film is incinerated but before it is, technicians transfer it to tape, with some scenes appearing very dark. The final shot centers on the cleaner, a figure connected to the café and the ongoing secrecy.