...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
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
The Black Dahlia in the old Los Angeles County Morgue.(Click photo
for enlargement) Below: A photocopy of Ed Burns' busy second message.
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."
So let's add tracer lines and check this out...
Hold your mouse cursor over a picture to see the tracer
lines (1"E" and 3"Bs")
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.
Place your mouse cursor over the image above
...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."
The Date of the Coming-Out
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
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
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
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
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
Now, we have a red-hot clue about the peculiar form
beside and above the macabre forehead brand. What does it represent?
I'll bet you know. Here it is;
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 . . .
Let's look at the nose the Dahlia wore into eternity.
There it Is, to the right:
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
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
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.
The Night Mare in the Nightmare
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.
Equine Certification from a Horse to a Horse-to-be
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'
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.
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.
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…