Police Commander Louise Chaland is investigating the murder of a controversial sculptor with the help of her son Sylvain, who has become a priest. The body was discovered alongside one of his works, which has been daubed with Latin inscriptions. They soon establish a link with the disappearance of a relic of Saint Martin, the patron saint of the city of Tours. Their investigation leads them to a shelter for the needy, run by François Delcourt and his daughter, who was in love with the murdered artist. Clues start to reveal the disturbing fascination some inhabitants of Tours have with the missing relic. Louise and Sylvain will discover the rich historical and religious heritage of the city as the secular mother and pious son come to some sort of a reconciliation.
A man is murdered in Laguiole, Aveyron, Aubrac country. The young Elisabeth Richard, deputy prosecutor of Rodez, is handling the case. She has to deal with the hostility of a police officer, promoted on his own strength and not keen on the idea of being subjected to a young woman. Elisabeth especially has to unravel the tangles of ancestral antagonism and family secrets in order to unmask the culprit. The film is both a criminal investigation and a social painting.
While setting up an exhibition of "The Mummies of St. Michael" an archeologist discovers a real skeleton in a red robe.
To conceal his nighttime infidelity from his wife Gisele, Pierre calls in a particularly shady private detective to concoct an alibi. He is introduced to a certain Robert Crémieux, who will pass himself off to Gisèle as a childhood friend with whom he spent the night until the early hours of the morning. The so-called childhood friend turns out to be a delinquent accused of burglary and rape on the very night he was supposed to be with Pierre. Pierre is immediately suspected of being his accomplice and, trapped by his own turpitude, arrested. Entangled in his lies and denials, he has to admit his infidelity to get out of the impasse.
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