This commentary examines the psychoanalytic drama narrated by Françoise Davoine in terms of the dream at its crossroads: a site within the analysis (and its dramatic narrative) in which the dead and the living change places and the untold stories of the patient's and analyst's mothers begin to emerge. Davoine's narrative recounts the emergence of a language in which the hidden stories become entangled with each other as well as the breakdown of signification in which an uninscribed history appears on the scene. Ultimately the analysis turns around an arrest of signification, a form of madness that reveals the violent history at the heart of the exchanges enacted in the analytic encounter. This is also the point, I suggest, at which the possibility of a new relation to history and a new form of address open up.