The Dracula Dossier

Research Leads

and other stuff you'd share

After some asking around and online research – give Doyle some fish & chips and he’ll work like a dog – you find the following.

  • The ‘Tepes Tapestry’ is a three-panel work, about 12 feet long/high, and with each panel about 3 feet wide. These were the ones photographed by Aytown. Based on the images you found of it, to say that it’s “abstract” is an understatement. It has figures, large looming mountains or structures, and army, or monsters, fire, or maybe wind, and lots of strong colors. It’s currently on display at Castle Bran, the widely-accepted supposed home of the Dracula of history.
  • Two of Francis Aytown’s works are owned by an auction house in London. The flat where he lived – supposedly with his gay lover – and worked still exists, in a London neighborhood undergoing a hipster gentrification.


Noemi is interested that the tapestry is on display, but 100 years ago was considered so suggestive that Aytown’s photograph/portrait containing it was a signal to the bad guys that he had to be targeted. Either there’s some information in the photograph/portrait which isn’t currently in the tapestry (possible since we know the magical effects surrounding these events affect both memory and documentation – the tapestry as it exists today might not be the same as it was back then) or it had some time-sensitive implications that made its display back then something the bad guys had to respond to which are no longer so urgent.

However, since we know the tapestries exist, we now know what they were and we know from the Dossier that they were in England in the 1890s, perhaps we can find historical references to where they were at various time frames, either in memoirs, artistic or news accounts.

In other words, Noemi is still looking to target the Aytown connection. That improvised piece of bibliomancy seems to have got her moving. Given the properties of the Dossier, she doesn’t feel that “typical” investigative means (cataloging leads, running each one down systematically) will be useful. We’re into a demonstrably non-scientific world, and if you forget it, just spend two minutes with the Dossier and a Xerox machine. So she is shifting into a more intuitive/expressive mode of investigation. Other members of the team may need to rein this in if she ends up putting pieces of string onto a bulletin board full of shit she wrote on cocktail napkins.

Research Leads

Doyle comments that it is odd that the tapestries were in England over a century ago, one would think from Romania, and now they’re back in Romania, on display. But they’re supposedly there, and they were supposedly here.

Research Leads

Some add’l research and asking over a period of days yields little about the tapestries other than that they were supposedly the property of the real Vlad Tepes, many centuries ago, and that they first appeared in London in the 1890s, with that provenance. They disappeared after that, re-appearing in Romania in the 1970s, where they were found to be in the possession of a high-ranking Party member.

They are now on display at Castle Bram, and have been since the end of the Cold War and the general opening of Romania to outside tourism.

Research Leads

Doyle’s interested in locations as well as people – what locations from the book are real? Which locations were most important to the story? Which might be most important to your investigation?

It seems to him that Carfax and Dr. Seward’s asylum are at the top of the list. “Blimey right proper, right? What do you think?,” he asks, between swigs of Earl Grey and bites of spotted dick.

Research Leads

“English speaking people are all disgusting hogs” – Gahndi

Research Leads

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