Deciphering the Cryptograms-Part 2
The Deepest Gaze into Ed's Second Message
Let's erase those two parallel-line pairs we drew above, and give
this message another perusal.
It looks like Burns used a ball-point pen, a 1947 novelty. And he used boldness
to make several letters conspicuous. Stuff that stands out: 2nd "E" in "HERE"; "d" in "Had"; "B" in "Black"; "S" in "iS"; "u" in "Fun"; "D'
in "Dahlia." And "ing" in "Turning," and the "10" stand
out. Ed probably inked stand-out characters a different color from the others:
maybe black instead of blue.
Let's draw a new pair of parallel lines. Ed was a consistent parallelism freak
in this message. And Ed showed inter-message consistency, too. We see a zero
under an "ing," just like in his 1st message. This time the pointer
is a "1," not a "T." But the zero-ing function is the same.
We'll draw our "winch lines."
And we have something with exactly the same form as "GingS" in the
1st message. The difference is in detail. The operands in the 1st message,
G and S, are simple. The operands in the 2nd message are compound and are located
within, or are bracketed by, the two parallel lines.
Let's grab the data found in corresponding message-line locs within the
parallel lines. We get "Su D" from the right parallel, and "Ed
B" from the left parallel. We'll next take data from the "Turning" line.
From the parallel to the operator "ing," we find "urn. " Concatenating
it with "Ed B. " we have "Ed Burn. " Now we see why Ed
put the "10" to the right of center, under "ing." He wanted
us to extend the vector defined by "1" to the "s." He was
telling us to fuse "s" with "Burn" to form his last name.
Now we know his full name. It was: "Ed Burns." And Ed Burns is zeroing/murdering
Suzanne Degnan in this fun-at-police message.
Third-stage decipherment of the 2nd message is:
Heirens, George Murman, and Suzanne Degnan, in parallel w' Ed, had Murder Man
fun at police: Ed Burns murdering Suzanne Degnan [while] George Murman/Heirens
murdered the Black Dahlia.
A Down-to-Earth Look at Ed Burns' Second Message
Let's erase those lines we drew previously and rescope Burns' 2nd message. hmmmmm . . . I think there's more encryption in this material. That's cool, not a problem. Let's locate and number the data points of interest.
Is this fascinating stuff or what? Maybe it's a manifestation of cryptophrenetic psychosis. No. This is sane and simple. Let's ponder numbered data.
Points of Interest
- Number 1: Goofy crossbar on A, like a terminus at the right. Suspicious, locus-defining(?) dot to the left.
- Number 2: Locus-defining(?) dot.
- Number 3: Locus-deflnlng(?) dot.
- Number 4: Goofy crossbar on A; looks like a terminus or an "X" at the right. Odd, backward-leaning L to the left.
- Number 5: Bold, peculiar P. Mysterious diagonal through P-stem; conjures up an X. Overly bold T to the left.
- Number 6: Super-suspicious, locus-deflnlng(?) dot. Note the wispy line segment passing through the dot. I think Ed Burns was handing us a heavy hint.
- Number 7: Same as #6.
- Number 8: Same as #6.
- Number 9: Same as #6, plus ultra-bold R to low-left.
- Norton Avenue: "N" In "JAN."
- Dahlia's remains: Dot of "I" in "TURNING."
- Grayburn Avenue: "G" in "TURNING."
- Edgehill Drive: "E" In "WED."
- Degnan Boulevard: "D" in "HAD."
- Thirty-Ninth Street: "29" with modifiable "2."
- Coliseum Street: Reading bottom-up along line, "L," "I," and "S" as in "Col. ISeum."
- Big Red Car tracks: Blotto-bold "T."
- Exposition Boulevard: Reading bottom-up along line, we get X from rightside of "A" in "DAHLIA" or from diagonal through "P." Then, we have an expositional "Xpo." Ed likely used the locus-defining dot to the right to tell us to use the lower dot after "o" as a period.
- Rodeo Road: Bodaciously bold "R."
The Street Scene in Ed Burns' Second Message
Up above, we numbered, then pondered points of intrigue.
Now we know what Ed was up to. Let's erase numbers and draw lines.
Hokus pokus . . . A street map of the Black Dahlia exposition-site locale! Ed was a closet-case cryptological cartographer.
Ed's Street-Smart Map Legend
Ed ingeniously labeled eight streets and one railway. He even marked where he placed the Dahlia remains! Notice how the Norton line intersects the "N" uprights. See how the Grayburn line skims tops of "1" and "N." Note how the Edgehill line grazes the bottom of "10," the top of "A" and the bottom of "W." Note that the 39th Street line goes through deliberate gaps between "U" and "R," and "2" and "9." Why was Ed Burns so meticulous? So we puzzlers would have no doubt: this map was meant to be . . .
The Outdoor Crime Scene in Ed's Second Message
Ed Burns' Custom street map of the Dahlia Expo locale:
It's 1947; this locale is "new"; maps differ in location of Rodeo Road, Burns' map suggests he had examined the 1/16/47 Examiner. This is one of five clues that Ed monitored voluminous Dahlia reportage in the LA Ex' from BD Day+1...
A Final Dose of Ed Burns' Second Message
Ed's 2nd Message points to both Black Dahlia crime scenes ...
Let's resurrect Burns' original 2nd message, then draw three lines. OK. Now we'll complete our analysis and decryption of the Avenger message . . .
Ed Left Zilch to Chance . . . Ed was Profoundly Purposeful
Previously, we numbered points of interest. We didn't number the dot under the zero of "10." And we didn't use this dot when we drew streets and trolley tracks. Why? We didn't need it; we'd used it. Look at our earlier message. The dot and the gap at the top of the zero defined the rightmost winch line . . . Now look at the Xerox above. Note the two "pencil swipes": one just above the "W," the other 3/8" away and at 11 o'clock from the "W." We did not number these marks. They're clues from Ed. The mark near "W" conjures up an apostrophe. It clues us that "w' Ed" is the correct decryption for "Wed." And the larger mark suggests a compass--pencil arc, and a basic way to draw parallel lines. It does suggestively tickle a parallel . . .
Dial H for Abattoir
Earlier, we saw how cipher-tongue'd Ed told of a murder. He used compound operands to represent players, and a zero w/ suffix to represent the murder/zeroing. Ed could've arranged the primary elements in many ways. He set them up to pattern the symbolic "H" we drew in the above Xerox. Huge "H" alludes to the Black Dahlia bisection sanctum; and that "A" touching the right side of "H" is allusive. This will be clarified upon decryption of Ed Burns' 3rd message. Put this in your bank: "H" and "A" hang together.Click to Continue
