The author focuses on a series of films featuring classical musicians whose career is stressed by their emotional problems or neuroses; he is particularly interested in The Seventh Veil melodrama (Robert Compton-Bennett, 1945) whose action combines the types of the dark pianist and the pianist-victim. Analyzing the editing of the bodies of the performers (that of the actress, the one of her understudy), he shows how this film says the false when, using hand inserts of a virtuoso, it makes believe that the actress plays the piano, and how, at the same time, it tells the truth by the false when it illustrates metaphorically that the hands of someone do not entirely belong to him: they are erected, led, but also tempted, caught, driven by another force whose rest of the body betrays nothing.