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With reference to a book constituted from false memories of the Shoah entitled Fragments and signed Binjamin Wilkomirski, throughout which the author paradoxically uses the Shoah as a ' euphemism '? and as a screen for another story, this text raises three questions : What does a family history become when, on ceasing to be a daydream it is imposed on the other on the public scene in a denial close to perversion. What happens to the notion of acting-out when, instead of being isolated and localised, it extends to the complete behaviour of a life. Can we not speak of a ' living out '? ? The destiny imagined by the author of Fragments designates and masks a real destiny. Could we not speak of a screen-destiny ?