A highly intelligent murderer fools the Paris police. His victims: young women who lived in the Bastille district. As a "calling card", the killer leaves a bloody footprint at the crime scene. For Commissioner Maurice LaBréa (Francis Fulton-Smith) it is the first case in Paris. He had left Marseille together with his eleven-year-old daughter Jenny (Leonie Brill) to make a fresh start after his wife was murdered. Now the "bloodfoot murderer" leads LaBréa to his emotional limits. He receives unexpected support from his new neighbor, the artist Céline (Valerie Niehaus), who takes care of father and daughter. When the murderer strikes again, LaBréa comes under pressure. His vain superior Thibon (Daniel Friedrich), derisively called "the aesthete" by his colleagues, threatens to withdraw the case from him. With the permission of the investigating judge Couperin (Michael König), who holds big pieces on him, LaBréa undertakes a risky decoy action.

The famous producer Jacques Molin has been murdered. During his investigations in the deceptive glittering world of the Parisian film business, Inspector LaBréa comes across numerous suspects. Neither Molin's unfaithful widow Germaine nor the film crew of his current project shed a tear for the dead man. The arrogant Molin was at odds with director and cameraman. And the leading actress Caroline Becker maintained a not entirely voluntary relationship with him. LaBréa must unravel a web of lies, deceit, hatred and blackmail. But his private life also presents the sensitive investigator with new challenges.

It is not a pretty sight that Inspector LaBréa has at the scene of the crime. The brutal murder of an ex-convict who was mutilated in the genital area is believed to be the responsibility of a group of radical feminists. This is suspected of finding and punishing acquitted rapists. A second bloody deed, carried out according to the same pattern, confirms this suspicion. All clues seem to lead to the dedicated psychologist Christine Payan, who is personally committed to rape victims. But LaBréa is not satisfied with the obvious.