So I do see where you have taken this analysis, and it is very much in line with how thoroughly you are able to dive into the smallest details. The difficulty I would have with such a method, however, is again that it doesn’t allow sufficient scope for choice on the part of the author. If we are to propose that any compositor has hidden a specific secret message anywhere then we have to be able, first of all, to show that he/she had the freedoms required to do so.

Here, you add the signs from the June 1981 and the 1982 rows together in the way you have shown and you get separately T and S, equating each to 19 and 18 respectively and hence 37 in total. Yet the compiler had no freedom over any of this in these two rows, as the signs are correct for the murder events and thus fixed.

It must seem, then, that we are forced into noting the appearance of 37 in this way as an interesting coincidence, but not anything more than that.

Posted by: @lendor-77

↑

At this point, I reorganize the resulting sequence and interpret it as follows:

Z IS JBG

Not G”J”B?