The Night Mare

...Ed Burns roped me, haltered me, branded me with the initials of his name and turned me into a horse. But I wanted to be a Black Dahlia, not a Black Beauty.
PLEASE let folks know the truth: it will make me free to rest in peace...

It was an Ed B. head trip. He couldn't resist...
What Ed did to the Dahlia's forehead was pure Ed Burns. It was concealment cryptology. Now we know the why of the long stem on Ed Burns' second message "B." It was to mock the stem on the big "B" Mr. B would inscribe on the Dahlia's forehead.

Below, we see a "B"-a composite and a gestault. Eee Bee had placed both his initials on the Dahlia's forehead. He'd created an arty superimposition of "B" with an occult "E."

The forehead "E" is a weird one. Ed helped us see it, with "E" in his 2nd-message "police": notice the gap at the top ofthe stem; scope the crooked cross-beam above the gap; this crookedness precisely traces the forehead line segments which define said beam.

...There they are, "B" and "E." Ed's multiple "B" with shading looks like a single fancy-font "B." These fifth generation photocopies of photographs conjure up tattoos which tend to shroud the "E." But once bold cap "E" is spotted, it's as palpable as the cap "B."

As mocking accompaniment for his lovers-Iane-bound “E B,” Ed Burns embedded a cliche He encrypted the date he would set up his sunrise ‘stravaganza: “ J 15,” January 15. Maybe you picked up on the “5” of it . ..

Tracer-Enhanced "5" is at the right. "B" lobes and "E"
are perfect camouflage for "5." Filagree on the bottom of
"E" diabolically derived from a mark on a horse. That frill
on "5" is an elaboration of an embedment.

Now we know the why of the skin-gap in the upper half of the “E” stem: it was to preserve concavity in the curved section of “5.”

We see the “5.” Where’s “1”? It’s where it belongs, faintly, but for sure. Ed helped us see it, with “H” in his 2nd~message “Had.’ This “H” stands, out, it has a mission. Note the odd orientation of the left upright to the right upright. This orientation dittoes the orientation of the forehead “1” to the forehead “5”
These partners in crime are shown below. The “1”is enhanced with a tracer.

We see the “15” Where’s “J’? Its there, boldly but cryptically. Ed helped us see it, with “J” in his 2nd-message “January.’ This paper ‘J” isn’t just any old “J”: It’s a January “J.’ Now we see why Ed gave it a wildly separated cross-beam: he was saying this was a ‘J’ from CryptoLand, and he wanted us to focus on the stem/hook, which is shaped. like the forehead “J.”
Those kindred characters are shown below. Here, the trilogy “J" is oriented like the defilement “J,” which is in the “cross hairs.”

Four of Ed’s 2nd-message alphas interact with his Black Dahlia skin art: an "E," a “B,” an “H,” and a “J” Ed situated each at the conspicuous beginning or ending of a line. Ed wrote each by hand: a fallout of the interaction with skin art. And now we have a clue about why Ed hand-printed his 2nd message...

I see symbolic, nonalpha crypto-art on the Black Dahlia's forehead skin. Some of it is blended in with noir "tattooist" Ed Burns' two initials, The rest of Burns' skin-art appears above and to the left of these initials. Look below:

What is the bold little circle in the large, shaded "B" lobe all about? Move your mouse cursor over the above photo to view the tracer for the sturdy circle.

Let's scrutinize the symbolic circle. What was Ed Burns telling the autopsist and the cops? I see clues. The circle Is attached to the "E" and the medium-sized upper "B" lobe; two lines connect the circle to the big upper "B" lobe; and a very thin line connects the circle to the small upper "B" lobe. The compound "B" outline is emboldened/reinforced near the connections. So this symbolic circle is connected to the letters . . . Hmmmmm . . . Circle EB Stable . . . Did Burns "brand" the Dahlia? Yes! A close-up of Elizabeth's wounds

You're right. A branding Iron. The handle is on the right, the brand stamp is on the left. Note Ed's lobes-to-the-right, B-Ish brand sketch. The three wispy lines adorning the top of the brand stamp allude to heat.

Check cut the squiggly vertical line appearing to the left of the iron/brand duo. I bet it's a bracket symbol; I think Ed was doing a charade-game number on his audience. I hear Burns saying . . "Get with it, guys, THINK . . . The stuff on the Dahlia's forehead hangs together" , . .

The autopsist, Dr. Frederick Newbarr, said the Dahlia was alive while her forehead was defiled. The EB "brand" was as smoothly lined as a quality tattoo. The Dahlia was a hostile subject. Wire restrained her neck. But how was her head held still? It's as plain as the nose on her face. And I sense an epiphanous aura . . .

Those two gouge wounds, one on each side of the nose, are bizarre. Do you know what caused them? If so, you're privy to the 2nd number to a combination unlock of a chilly part of the Black Dahlia Mystery. Here's the story: Ed Burns commissioned extra-strong-rimmed glasses or heavy-duty goggles to use as a halter; he probably removed the lenses, then added straps or cords; he put this "halter" on the Dahlia and, utilizing the straps, securely tied her to a pipe or other plumbing fixture at her back; the Dahlia fought the halter during the branding, and two ultra-robust nose grips dug two ugly indentations into the sides of her nose.
For the sake of super-stationarity plus silence, Ed likely muted the Dahlia with a gag-bit contraption which he anchored to a sturdy fixture at her back.
So Ed Burns put the Dahlia in his juryrig bridle/headstall device, and branded her with his initials . . . Hmnm, he wasn't horsing around . . . But maybe he was.

In his 3rd message, Ed separately alluded to Hirsh Apts. and the Degnan-area death lot. To expert-data-recycler Burns, they were two distinct symbolic spheres. And he recycled symbology between the spheres while making a different, sphere-dependent allusion with each recycle. The Degnan-locale death-lot domain was Ed's Taj Macabre for his ladylove. He wanted a select group to see it. The Hirsh horror was Ed's "you would not give me sex" torture-'n-domination end game with the Dahlia. I bet he wasn't retrospectively proud of this one. He likely was loath to even talk about it. It's CREEPY . . .

The Dahlia murder tapped two symbolic realms. The metaphoric focii: (1) The Suzanne Degnan Murder; (2) A horse. And how did the horse get into the picture? Via the Dahlia, a la the Degnan murder. The Dahlia obsessed on the Suzanne Degnan murder, and loved horses. To Ed Burns, the Degnan murder and horses likely were topics that defined the Dahlia. Black Beauty, the classic Anna Sewell horse story, hit movie-house screens in '46. Maybe Ed and the Dahlia watched the movie together.
The picture below shows the Dahlia with a horse. And what a remarkable horse it was . . If you look very closely at its forehead, you'll see a solution to a baffling mystery.

This snapshot was in the Dahlia's purse when
she was killed. It was one of six "belongings"
photos Ed Burns mailed to the LA Examiner.

In the HIRSH, Ed Burns haltered the fey Dahlia and made her over as a HoRSe: the horse which is in the photo with her. This horse had peculiar markings on its forehead. Ed mapped marks, a "branding iron" and a squiggly line w/ slash, from the horse's forehead to the Dahlia's forehead. Ed replaced the white patch with his EB brand. The long-stemmed B mocks the Rorschach shape of this patch . . . A patch of white horse hair was the why of the long stem.

Move mouse over image to see tracer lines

How Ed Burns Morphed the Black Dahlia into a Horse

(1) Ed haltered and bitted/gagged the Dahlia, then branded her with the initials of his name, as if she was a horse.

(2) Ed mapped marks from a horse's forehead to the Dahlia's forehead, to give her "she's a horse" credentials.

(3) Ed cut the Dahlia's mouth from ear to ear, to give her a whoppingly wide horse mouth.

(4) Ed slashed the Dahlia's abdomen from pubis to navel, to give her a bodacious horse vagina.

(5) For good measurement, Ed eternally stretched the Dahlia's anus to 1.25 inches in diameter. She now boasted a big ol' horse anus.

And that wasn't all . . .The Equintessential Morph Job, continued . . .

(6) Ed pulled out the Dahlia's pubic hair and rolled it into a tuft, then stuffed the tuft into her tail end. She now sported a nicely tufted horse tail, "on" her tail end.

(7) Except the orifice In (5), Ed marked the "rejected" birth organs with multiple Xs. This heralded the Black Dahlia's coming out as a horse.

Sorry, Mare

To Ed Burns, the Dahlia's vagina was her Forbidden-Zone: the "you would not give me sex" in his 3rd message shows this. The Dahlia was proud of her pretty rose tattoo. So Ed B cut it off after he had "gifted" her his ugly EB brand. And as humiliative absurdity, Ed marked the supplanted rose with Xs, then rammed it into the Dahlia's F-Zone.

To Ed Burns, the Dahlia appeared to heroize Suzanne Degnankiller William Heirens. Jealousy and resentment were motivators for Ed's Degnan-murder mimicry with trilogy. What motivated the horse metaphor? I bet it was more of the same. The Dahlia would not embrace Ed. And she wouldn't allow him to embrace her. But take another look at that horse-Dahlia newsphoto. Check out the Dahlia's right forearm . . .

In his suicide note, Ed drew from both of his Dahlia-murder symbolic spheres. William Heirens scrawled a note on a wall at one of his snuff scenes. In red lipstick, Wild Willie wrote, "I cannot control myself." And do you remember how Burns ended his suicide message? He wrote: "Sorry, Mary." OK . . . Here's what the last words of Burns' suicide note truly said: "I couldn't help myself for the murder of Elizabeth Short. Sorry, mare."

So the final word of Ed Burns' final message was a farewell salute to the love of his life, Elizabeth Short.

Black Diabolism

A Frill from the Far Side

Lets rescope the photo of the Dahlia and a horse. Hmrnm.. Did Ed zone out when he mapped forehead markings? Did he overlook the twin-arch figure above the white patch? No. Ed mapped the arty figure to the bottom of his Ed “E” stem, Far out, man! Brander Burns was a sucker for a fiendish frill. The forehead views below explain:

A Timeline to the Twilight Zone

The date the Dahlia would appear in the lovers’ lane, January 15, was an intrinsic part of Ed’s brand. One “B," one upper lobe and one lower lobe could’ve buried “E.” The primary purpose of the multiplicity of “B” was to camouflage “5.”
Ed’s composite brand involved hyper-focused planning and clearheaded brainwork. Ed must have designed his skin art noir before he and the Dahlia did their ultimate check-in at the Hirsh Apts. Ed even told us he had…
The message which interacts with Ed’s skin art was written by hand because of peculiarity of interactive alphas. Burns refused to bare his handwriting to the Hirsh operators. Why? Because he knew about the requisite handwriting. This says he’d already designed his skin art.
So Ed Burns knew when he’d display the Black Dahlia in the lover’s lane, before the actual murder process began. Diabolical!
OK, Ed already knew. But why did he pick the 15th? ItI was a case of alphanumeric congruity Lets puzzle it out…
Ed spent the second weekend of January 1947 plotting the Dahlia murder. He and Black Dahlia would check-in at the Hirsh on Sunday, 1/12/47. Ed ruled out the 12th and the 13th as BD-Day contenders, at the git-go: he realized his Black undertaking would require more than one day. And he quickly eliminated the 14th: "4" did not mesh with the initials of his name. But "5" was a profoundly camouflaged fit. So why did Ed Burns pick January15, 1947 as Black Dahlia Day? Because his name was "‘Ed Burns.” Eerie.. . but it computes…

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