ANNABELLE
Raggedy Ann given to a nursing student in 1970. Warrens later take it to Monroe, Connecticut, and put it in glass. Notes and movement are the sold story. Museum doll is still rag. Cinema face is later.
073°12'00 W
1. Public Record
Annabelle. A Raggedy Ann given to a nursing student in 1970. The story the Warrens later sold is that the doll moved, left notes, and was not a doll. Ed and Lorraine take her to Monroe. A glass case becomes the exhibit. The films do the rest and change her face. The museum doll is still a rag doll. The cinema doll is not.
What this folder can hold is a household object, a couple who already had a tour, and a case that had to be locked because people would touch. Demonology is the Warren trade. A nurse's apartment in 1970 is the smaller room. Keep them apart. The notes, if they existed as paper, are the only human sentence. The rest is a locked box and a poster.
A rag face. A glass box. A film that would not keep the rag.
The museum doll is still a rag doll. The cinema doll is not.
That split is the whole modern file. Visitors come for the poster face and find stitches. Staff lock the case because hands will not stay off cloth. Robert in Key West has the same problem in a sailor suit. Two dolls, two towns, one box of apologies that adults write to fabric.
2. Date of Incident
Gift 1970. Warren years after. Films decades later. The cinema face is a later object and should not be hung on the 1970 room.
3. Location
First room: a student apartment. Later house: Monroe, Connecticut. Approximate 41°20 N 073°12 W.
4. Official Narrative
No police type. Official narrative is a private museum object. The Church does not certify the case as a public finding. The films are commerce.
5. Witness Layer
The student and her roommate as the first room. The Warrens as the second. Museum visitors as the third.
Demonology is the Warren trade. A nurse's apartment in 1970 is the smaller room.
Start in the apartment. A gift, a rag face, stories of notes and movement that never became a docket. Then the tour arrives and the doll changes address. Monroe is where the glass starts. The films are where the face changes. Do not let the last room eat the first.
A case that had to be locked because people would touch.
Theft and touching are ordinary museum problems. They do not prove a spirit. They do prove a crowd. The lock is the honest hardware on this page.
6. Recovery Logistics
The doll in a case. No public forensic file. Films as a separate object with a different face.
7. Assessment
Treat Annabelle like Robert: cloth first, tour second. The Warrens are already a brand on this shelf's weather. They do not get to turn a rag into a theology without the first room staying first. Notes on paper would be the only artifact worth a second look. A cinema face is not an artifact.
This folder files the doll as a museum object with a 1970 household story attached. Keep the rag. Leave the poster in the lobby. If a visitor writes a letter to cloth, that letter can sit next to Key West.
8. Materials & Remains
Rag doll. Glass case. Warren telling. Film as extra. No public note tray this page can hold.
9. Key Personnel
The 1970 household : First room.
Ed and Lorraine Warren : The case and the tour.
10. Aftermath
The films outdraw the rag. Monroe keeps a locked box. Key West keeps the other sailor suit. The two dolls now share a public who no longer knows which face was the gift.
11. Current Archive Status
Status: Rag in glass. Film face later.
Confidence: High that a Raggedy Ann sat in a Warren case. Low that a demon is typed. High that the cinema doll is a different object.
Filing note
A nurse's gift, a rag face, a couple who already had a tour, a glass box because hands would not stay off, a later poster that would not keep the stitches.
The museum doll is still a rag doll. That is the only honest caption on the case.