Madly in love with Alain, her husband, Cecile's happiness is shaken when his behaviour becomes erratic. Convinced he is hiding something - most likely an affair with another woman, she turns to her colleague Agnes' cop husband, Pascal, to spy on Alain in an effort to discover the truth. What she doesn't know is that Alain, a hypochondriac, has been informed that he must undergo a routine doctor's operation. Certain that his death is imminent, he conceals the truth from his wife, anxious to spare her any unnecessary heartache.  The miscommunication increases when Alain realises that he's being followed and believing Cecile is behind it, he develops his own suspicions that she is hiding something, giving him second thoughts on what he should leave her in his will, if anything at all.  

The film contains scenes skilfully re-incorporated from On The Run, shot entirely anew in a softer, light-hearted tone, which give them a new meaning in relation to the lives of the protagonists in this film. Thus, when Bruno's scenes from the first instalment are seen within this context, he seems less a psychopath and more comically inept, having being assimilated into the farce surrounding him.

Closer to classic Howard Hawks than Melville, the second instalment of Belvaux's trilogy could hardly be more different from its predecessor and since it serves as a perfect deep breath after the unremitting tension of On The Run, is all the better for it.