This chapter follows on from the idea of re-collection as a dangerous process and conceptualises the perils of preying on an other’s memory through the general postulates of Luc Ciompi’s (1982) affective-cognitive metatheory which, in the context of pathological conditions, examines how rational thought and logic depend on affects. A close reading of visual and manual hapticity in Rebecca (Hitchcock, 1940) and Peter Ibbetson (Hathaway, 1935) will illustrate these concerns. Mnemonic spaces, accessed through transgressive curiositas in Rebecca and shared telepathic dreams in Peter Ibbetson, devolve into imprisoning structures that feed the subject’s obsession with re-membering and provoke a change from an ‘everyday logic’ to a ‘psychotic logic’. Exclusion from a particular environment and, conversely, the construction of a sense of belonging are both signalled by the intervention of intensely manual memory-objects, such as gloves and rings. In both films, the need to touch, possess, and transgress spatial, temporal, and psychological boundaries is directly linked to the nexus between home and exile, one which is haunted by an acute preoccupation with memory. Ultimately, the cinematic Gothic draws forth a failed relationship with re-collection, which allows for a questioning of the overall desirability of memory.