Decoding The Queen's Gambit (2020) Part Three - Exploring Media Rituals with Chess and Piano
published on 2/13/26

Hey everybody, this is Bob of the Open Scroll. Welcome to the third installment in the series called Exploring Media Rituals Linking Death, Stargates, Prison Breaks, etc. with Chess and Piano.

We're featuring four clips from the acclaimed mini-series called The Queen's Gambit. This continues and completes our focus on that Netflix series, adding four more clips to the four that were covered in the previous installment. If you haven't seen that one yet, I recommend watching it to prepare you for this one.

Our first clip is from episode three, which begins with the scene of Elizabeth as a little girl at the beach with her birth mother, Alice Harmon. When this opening scene ends, we learn that the ticking sound heard throughout is that of a chess clock. This frames the scene in the context of chess, and we may gather from that framing that the this is a memory Beth is reflecting upon during a chess match in the main timeline.

Watch for the clues that identify this as a chess death, life, Stargate, Janice, time-space ritual. We see a long scar on Alice Harmon's wrist, a sign of having slashed her wrist in a suicide attempt, but she didn't die, she survived. This presents the themes of death and life.

When Beth watches her mother dive into the water and doesn't see her surface for air, she begins to panic, thinking her mother may have drowned. She's relieved when her mother reappears, climbing up the ladder on the other side of the floating dock. Again, this presents the themes of death and life.

These two connected ritual scenes are filled with emotional energy, powering the rituals. Additionally, death and the newness of life and resurrection is pictured when Alice was submerged under the water and then rises up out of the water. This is modeling baptism, and if this picture of death and life doesn't make sense to you, check out my study on TheOpenScroll.com called Baptism the Prophecy.

Find a link down in the description or on the blog post where I announce this third installment in the series. The ticking of the clock establishes the underlying theme of time, which is strongly supported by featuring water so prominently, a metaphor for time. The scene features Stargate ritual in these ways.

The shoreline itself is a symbol of a dimensional boundary where the sands of time meet the water of time. When Alice dives into the water as time and vanishes, she ritually transits from this time-space domain into another, like the watery abyss. When she emerges from the water by climbing up the ladder onto the floating dock, she's arrived in a time-space domain that is not the same one where Beth is.

She has to dive in and swim to shore to rejoin Beth in that time-space domain. Another level of Stargate ritual exists because we have joined Elizabeth in the past, through this scene that we must assume she's remembering during a chess match in her present time. The presence of all the themes I've mentioned so far reveals the scene as Janice ritual, with Janice being the god of time, gates, journeys, and endings, like with death and the stopping of the chess clock.

Before I move on to our second clip, here's a few details that will speak to some of you. Dimension, transiting, and celestial theurgy resonating code 88 features Elizabeth 88, hand hand HH 88, chess is played on an 8x8 board. Time codes 13, 21, and 22.

A meaning of the number 13 is the mastery of time, 21 is a primary time number, the plus one of 21 is 22, return back and reset code. What does she say in this, Mom 13, Wade 21, Tree 21, Dock 21, Wave 21, Ellis 21, Dive 22, Water 22, Trees 22, Anagram Reset. Our second clip is from episode 2 of the Queen's Gambit.

Watch for the clues that identify this as a piano death, life, Janice ritual. Listen closely to catch all the time language in the dialogue. Business trip.

Poor man has to travel quite a bit these days. Unless he likes to remind me. Keeps the roof over our heads.

Please stop gawking dear, you're making me nervous. You're very good. This was Grandmother June's piano.

Played since I was younger than you. I'd always had it in my mind to one day play in an orchestra. Probably still could.

As luck would have it, I've also always suffered from a terrible case of stage fright, which does not bode well for an aspiring performer. Then I got pregnant. You have a child? We did, yes.

We have a leftover casserole. The dialogue is saturated in time language. Janice, God of Time.

Beth evokes Janice by reason of his name's Proto-Indo-European root meaning, to go. Where did Mr. Wheatley go? Alma responds, saying, Business trip, evoking Janice, God of Journeys. The emotional impact of the scene begins with Alma's expressing her emotional loss of a satisfying career as a pianist due to her inability to cope with stage fright.

The emotional energy ramps up when the themes of new life and death are introduced. Alma shares what has been so painful. She says, Then I got pregnant.

Janice, God of Beginnings, even of Life. That definitely put an end to her aspirations as a performer. Janice, God of Endings and major life transitions.

Beth asks, You had a child? Alma confirms, saying, Yes, we did. Her child died. Janice, God of Endings, even of Life.

This clip exposes another piano death life Janice ritual. In our third clip, the fourth episode of The Queen's Gambit is drawing to an emotional close. Alma Wheatley's death prompts Beth to call Mr. Wheatley.

This clip puts more piano death ritual on exhibit. I want you to have the house. He knows how to reach me.

Don't you want to know how she died? What was it? Hepatitis. I think we'll know tomorrow. Yeah.

She was sick a lot. The piano death pairing begins when the piano begins to play in the soundtrack, just after Beth informs Mr. Wheatley about his wife's death. As the piano continues to play, we see Alma's coffin being loaded onto the airliner while Beth watches from her window seat.

When Beth is served another drink, she toasts to the empty seat next to her, where her mother would be sitting if she were still alive and not dead in a coffin. Beth's grief over the loss of her adopted mother, agent, and friend stirs emotion in the viewers, adding energy for the harnessing in this ritual. All this ritual, of course, builds upon the foundation of chess and death that is inherent to this miniseries because of Beth being an orphan and her life being all about chess.

Thank you. I'm sorry. What are we supposed to do with her? Sending someone? It's hardly a scratch, are we? It's a goddamn miracle.

I doubt she'll see it that way. You understand, dear, your mother's passed on. You know what that means, don't you? Passed on.

Well, I'm sure she's gone on to a better place and someday you'll get to see her again. Orphaned by yesterday's collision on New Circle Road, Elizabeth Harmon surveys a troubled future. Elizabeth, nine years old, was left without family by the crash.

Her mother, Alice Harmon, was pronounced dead at the scene. And the father? Doesn't say. I would guess that, like most men who live around there, he was yet another victim of a carefree life.

Poor dear. Let's welcome her, shall we? Welcome, Elizabeth. Good luck to you, dear.

What did we just see? While Beth is at the chessboard, we're suddenly transported back in time to the scene of the car wreck where her mother died. We see her dead body lying on the bridge. We suppose that Beth is reflecting back on that traumatic season with the scene shifting back and forth between Beth's staring face in the present and in the past.

But the filmmakers aren't showing us the events from her perspective. We, the viewers, are taken back in time and to other places to get the backstory on how things unfolded in her life. It needs to be said that this jumping through time is a common device in film and in written media.

By itself, it doesn't flag the presence of ritual magic. The context and other details have to be taken into account, and there's plenty of clues in this clip that reveal what's going on. If you understand about the associating of chess or the piano with death in media presentations, it's a given that this is a magic ritual of the kind known as theurgy.

But there's much more going on here that identify it as some pretty high-level material. While the more obvious focus of attention was on death, the subject of life was also present. In the Methuen Homes administrative office, a woman comments on the absent father.

I would guess that, like most men who live around here, he was yet another victim of a carefree life. Consider how Beth's life seems strangely untouched by death in ways that give emphasis to her being alive. There's hardly a scratch on her.

The crash that left her mother dead left hardly a scratch on her. She didn't cry or show any emotion, giving no sign of even registering her mother's death. In this way, too, her life seemed strangely untouched by death.

When the woman from social services talked to Beth about her mother passing on, she didn't engage with a response of any kind. Again, her life seemed strangely untouched by death. What the woman says about Beth's mother speaks of life in a different context in what might be called the afterlife.

I'm sure she's gone on to a better place, and someday you'll get to see her again. This resurrection reference resonates with the scene with baptism symbolism where Beth watched her mother climb out of the lake onto the floating dock, which we saw in the clip from episode 3. The clip starts and ends with Janice's ritual, and there's plenty more in between, so let's give this our attention. Perhaps most notably, Janice is what the backstory scene was all about, as he is considered to rule over life's major transitions.

By any accounting, her becoming an orphan was certainly that. I began the clip with Beth in the elevator. She's on her way to play a chess match.

Janice, god of journeys. The door opens and she exits. She traveled between floors down to the ground floor, and with gravity being caused by warping time, there's an evocation of the god of time, Janice.

When she exits the elevator, she passes through the doorway. Janice, god of doors and transits. Beth is hurrying because she's late, evoking Janice, god of time.

The design of Beth's outfit evokes dualism. Janice, god of duality. It may be noted that her dualistic attire resonates with the chess game she's about to play.

When she reaches the closed door, she pauses to put on her shoes, steadying herself with her hand on the door, Janice. She opens it and goes through, Janice. In this room, where the competition will take place, we see chess boards in round frames.

Janice, god of frames. These further support the Janice ritual by presenting us with layers of space-time symbolism. The chess board is a square, a symbol of space.

The frame is a circle, a symbol of time. The square is the same as a cross in symbol. When Beth passes by these objects, we see her head as a circle, crossing the circle of the frame.

Crossing circles signals space and time. She's traveling, Janice, and passing by the space-time symbol while adding another layer of the same with crossing circles. Space-time ritual is inherently Janice ritual.

While she walks, she occults one or more of them with her head, and then we see her crossing over past each of the three, repeating the crossing circles in square-circle signaling instances. When she's seated, we see the duality Janice of the chess set and their outfits. We see the chess clock and glasses of water as time, flanking the chess set, evoking Janice as the god of time.

Then we jump back in time to when Beth was orphaned. That's quite a journey, Janice, through time, Janice. The camera pans across to the bridge.

Janice, god of bridges. It's a bridge over water, most likely. Water as time, Janice.

This is when all the time language in the dialogue has to be factored in for its supporting role. When social services picks her up and takes her to the orphanage, it's another journey, Janice. When she arrives, we see the side-view mirror, Janice.

Mirror's a Janice thing. The administrator stands at the entrance, Janice. Once inside, we see them walking through a number of arched doorways.

Janice, god of the arch and doorways. This is where I chose to end the clip. Let's note that this first episode of the miniseries is titled, Openings.

Yes, Janice. Let's step through the clip again and give our attention to some of the other items that factor into these rituals. When the elevator reaches the floor and stops, the bell dings.

The bell is a dimension-transiting object, and ringing it typically prompts the opening of a stargate for a transit. This reveals Beth's exiting of the elevator as a ritual stargate transit, the first one of the clip. Stargate transit rituals are usually attended by an abundance of Code 88 as a celestial and stargate code.

Elizabeth, 88, runs through the hotel lounge, 88. She runs through a dining room, Demetria, 64, which is 8x8, to play chess on a 64 square or 8x8 board. A combination of numbers that typically cluster around stargate transits is that of 13 and 22, and there are enough of these to warrant mention.

The number 13 signifies the mastery of time, and this also has the additional related meanings of rebel, lord, and beast. This signification factors into this very rich scene. The number 22 perhaps most significantly has to do with the return back and reset.

The 13 is the plus one of 12, and 22 is the plus one of 21, with 12 and 21 being closely related time numbers. Together, 13 and 22 are what I like to call a power combo. This power combo is evoked when Beth uses the F word with a gematria of 22 as she runs to the door and puts her hand on the glass, 13.

Her use of this energetic language, along with her being in a rush, raises energy for the harnessing. Beth has paused at the door for some important reason. The pane of glass is a window, 88, in the door.

She has to put on her shoes of the kind referred to as high heels, HH88. The room she is preparing to enter is dedicated to playing chess, 8x8 board. Elizabeth, 88 in gematria, opens the door and goes through the doorway, 88.

I just identified five 88 signaling elements. That's a cluster of the Celestial Dimension Transiting Code numbered symbols. When she enters, we see a sign, 22, on the wall that reads Grand Prix, Gematria, 666.

This number famously signals the Beast and the Mark of the Beast from Revelation 13.18. We'll soon see how this theme finds some very clever support. The bow, 13, on Beth's dress resonates with the glass, 13. This is a small detail to be sure, but these add up when there's a clustering of the most pertinent code numbers around Stargate transits.

Take a good look at Beth's dress. The black and white motif evokes the knowledge of good and evil, which resonates with the 666 signaling of Grand Prix. Beth walks by some richly symbolic decorative objects before she gets to her destination.

There's plenty more symbols when she gets to where her opponent is waiting for, but her brief walk through the room does plenty to ramp up the ritual. Several chess boards are set within round frames on the stands. Janice, got a frames? These props on the movie set provide for several layers of ritual.

The square and circle shapes are very ancient symbols of space and time, which I already mentioned, and this is resonating with the scenes of Janice's ritual that we've well established, and it's also resonating with the Stargate transiting theme. The 8x8 chess board is resonating with Elizabeth, 88, as she passes by each one. The alignment is intentional for the sake of the ritual.

We know this because we're attentive to the details. Watch Elizabeth as she passes by those displays. Specifically, it's her head that the camera lines up with each one, her head with her flamboyant hair.

We see her head completely occults three of these props. Then we see her from another camera view crossing over past the three chess boards framed in circles. Let's first note that head and hair begin with the 8th letter.

Yeah, each alignment produces 88, from the chess board plus the head hair, and it's Elizabeth, 88. That's significant, and even more so when you take into account how her head and hair form a circular shape. Every time her head passes across a circular frame, we're presented with the image of crossing circles.

I've had a lot to say about this very important symbolism. You can compare it to square and circle imagery because the cross and square are equivalent. You can notate the combination as XO or OX.

This has several meanings, and depending on the context, can support a variety of themes in the context of a ritual. So, what applies in this ritual setting? As I already mentioned, each instance of the XO evokes space and time. The X and O are associated with the ancient mark that links to the mark of the beast.

The occultist and author Kenneth Grant was instructed by the infamous Aleister Crowley. The magus who identified himself as the Beast 666. Crowley personally initiated Grant into his occult order, Ordo Templi Orientis, known as the OTO.

Grant wrote, the heart of the sigil of Nodens is identical with the mark of the beast, X. The fusion of O and X, which produces the lightning flash. The fusion of O and X, which produces the lightning flash. The lightning flash.

What characterized best entry into the Grand Prix, 666, room, but one flash after another? The flashbulbs of the photographers presented the imagery of the flashing of lightning that's associated with the fusion of the O and X. So, the OX or XO unions are associated with the mark of the beast. The three symbolic instances of the XO generated by Bess walking down the aisle, resonate with the triple that I believe is associated with the mark, triple helix DNA. 

This beasts and mark of the beast layers of XO symbolism resonate with the Code 666 of "Grand Prix." Supporting this layer we have the brown tones of the chessboard and its frame. A gematria of the word, brown, is 72, which is 6 times 12, or 6 times 6+6, evoking 666. As Beth paused before entering the room, we see her with bare feet. In gematria, "Feet" is 72 double 18 and 216. Each of these numbers is a secondary code 666 number! 6 time 12 or 6 times 6+6, 6+6+6 and 6x6x6. 

There's 2 more layers attending this ritual. The meaning of XO is interpreted by many as a kiss and a hug, which is why you see XOXOXO when someone writes a note to a dear friend.  It's a love thing. The XO that resonates "love" has a level of beast code resonance based on the fact that the word, love, has gematria of double 54 and double 18. 18 is 6+6+6, and 54 is 18+18+18. This LOVE code is powerful.

If you're not familiar with this code and you're curious, you can learn plenty about the XO and love code 54 in 4 installments of a video series that features 
The Lake House, starring Keanu Reeves and Sandra Bullock.  Find a link in the usual places to the series called, "The Pairing of Time Travel with Sodomite Programming in Film and TV." Also, you can find much more about Code 54 in the series called, "Watermelon Love & Code 54." Lots to learn, there.

Here's where we factor in the bold color of Beth's hair. The word, red has gematria of 54 and double 18, resonating with the double 54 and double 18 of the word, love.  Every time Beth's striking red hair crosses over past the prop to generate an XO, the common symbolism of the love code 54 and beast code 18 as 666 is magnified.  Think about this from the perspective of how love raises emotions, and you'll see how this evocation adds energy to the ritual, even most particularly in connection with the beasts and the mark. This strengthens the connection between love and the beasts and the mark in the lives of those impacted by the ritual. And there's this: "Hair" is gematria 72 as 6x (6+6) and 216 as 6x6x6, and then layer that with "red," as double 6+6+6. AND there's this, the gematria of "head" is TRIPLE 18-108, which is QUADRUPLE 6+6+6 if you let 108 resolve to 18 without the placeholder. 

Sure, this can all be a little overwhelming, and you might be getting a little numb to all this detail. If you need to pause for a bit to process these insights before continuing, come on back when you're ready. 

So, with all that to build off, there's another notable layer that extends the symbolism of the XO instances. We could keep extending the breadth of this ritual by exposing the Code 66 and Code 42 as 6*6+6, but I'm limiting on how far I take this here. Yet, there's one more layer that really demands our attention before we move on. The Goddess theme. 

Again, Kenneth Grant wrote, "the Goddess who grants all desires is invoked by the uni  on of the X and the O." So each time Beth crosses over past the round frame, "the Goddess who grants all desires is invoked." Recall how the flashbulbs greeted Beth and evoked the lightning associated with the union of the X and O. The flashing of lightning imagery also signaled the invocation of the goddess. 

Now the ornate design seen on the etched glass of the door can be understood. It's an obfuscated rendering of the female reproductive system. Take a moment to compare these images and consider what you're looking at. We can see Beth through the frosted glass. Connect the dots. 

Fertile young Beth represents the goddess as the divine feminine, with her arrival being celebrated by those in the room. Her arrival is further celebrated as she passes by the framed chessboard props that provide layers of goddess invoking OX with each crossing. Her flamboyant hair is the goddess color red. Red is associated with the romantic and erotic kind of love with Valentine's day and Cupid, and red roses are widely seen as symbols of romantic love. See Beth in this ritual as the goddess of love known as Aphrodite or Venus. 

Here's a bonus observation for those of you who have learned about Transit of Venus rituals. It's a celestial thing, resonating with all the celestial transiting Code 88 identified earlier. Watch Beth walk past each oddly placed lamp, and see this action as a series of ritual transits of Venus. Yes, that's a part of this grand scale Theurgic ritual that perhaps most directly engages the inherent gods associated with the celestial bodies.

So far we've only analyzed a small portion of this clip.  We're not going to be going into such detail in most of the rest of it, but we must in this next segment when Beth meets up with her opponent because it finishes prepping us for the biggest stargate transiting of the clip.

She greets her opponent with an apology for being late. "I'm-22-13 sorry." The power combo!

As she apologizes, we see Elizabeth-88 flanked by a bouquet-88 of flowers and one of the framed chessboards of 8x8 dimensions. 

There are two pillars, exhibiting the vertical lines that evoke an open stargate. Yes, we're being primed! These pillars or columns are ancient signs of the goddess, strengthening that identification. 

Behind him, we see a window-88. He stands and offers her his hand, and as they grasp and shake hands this evokes Code 88 because hand-hand is hh-88. His name as it appears on the game play board is V. Borgov. 88. His first name is Vasily-88. Maybe you can dismiss all these features as being just a really remarkable coincidence. I can't. 

Let's pause the 88 signaling for a moment to observe some of the other important numberings.  

He stands up-222, evoking the antichrist Code 222 that resonates with the Code 666 symbols present. In the context, this resonates with the 2 men on a bench behind him. Bench-22, with 2 men seated on it. Two twenty two. Antichrist code.

As she settles in, we see a pitcher of water-22 as-time. A glass-13 sits on their table-13 signaling the mastery of time and resonating with the "rebel lord beast" layer. The 22 and 13 power combo water and glass sits across from the timepiece that regulates the game play, which we hear ticking away. Tick tick tick tick... Janus god of time, and gates and transits.

As we look at the spectators we see that they're almost all men wearing suits-88.

We're well primed to jump back in time. 

The camera gives us her opponent's perspective. With the chess clock ticking loudly, Elizabeth-88 is seen across the chessboard of 8x8 dimensions by V. Borgov-88, while the framed chessboard behind her projects its own 8x8. Her round head is aligned with the round frame signaling crossed circles, the XO projecting space and time. In the soundtrack, the piano music begins to play. So, we must add the 88-key piano to the collection of dimension transiting Code 88 components, right? Finally, there's one more that will complete the set-up and transport us back in time. Elizabeth looks at Borgov. He looks back into her eyes. What's going on here? They are staring at each other. Staring, gematria 88. Elizabeth-88 and V. Borgov-88 are staring-88 at each other across the 8x8 chessboard! Hey! Wow, what a crazy coincidence, right? Eh, nope. 

Suddenly we see newly orphaned Elizabeth as a 8 or 9 year old standing on a bridge. What's she doing?  Staring-88. At the camera, at us, the audience, just like Beth is at the Chess tournament. So, we jump momentarily into the past and then back, while we hear a voice from the past. Elizabeth-88 staring-88. The bridge is a metaphor, you see. The stargate through time and space is open, a bridge spanning the past and present. Janus, god of bridges and time and gates.    

While the piano with its 88 keys continues to play softly, we see 2 Kentucky "State Police"-64, which is 8*8, resonating with the number of squares on the chessboard. The camera slowly pans away from the troopers, shifting focus to the trees-22, anagram reset - return back and reset Code 22. The bridge would, most likely, be passing over water-22 as time. It would extend, as such bridges do, from bank to bank. Bank Bank BB-22 and BB 88. B resembles 8, Capital B. 

We see her mother lying dead-22 on the deck-22 of the bridge, with the car-22-13 behind her. Janus, god of bridges, journeys, endings and major life transitions. 

Clusters like these aren't that common. The reality in view is hard for some to grasp, but Theurgy is a matter of the gods directing their worshipers to carry out the work. The gods aren't imaginary, and neither is the work they direct ineffectual. 

When the scene transitions, they're in a car-22-13. They're on a journey-Janus to the orphanage where Beth will live. Through the window-88 we see the "side-view mirror"-88. Mirror: Janus. 

The woman driving talks to Beth about her mother's death using the euphemism, "passed on," which gives the Janus ritual more emphasis with a focus on the journey between the realms of earth and heaven, between life and the afterlife. It's yet another dimensional transit or stargate thing. And this, while we're in the scene of Elizabeth-88's past, having left her scene of the present chess-8x8 match, and while the 88 key-Janus piano continues to play. 

When we see the sign-22 on the car-22-13 door, there's more symbolism. First notice how there's a passing alignment of the "side-view mirror"-88 and Elizabeth-88. 

The sign reads, "Social Services KY Knox County." This resonates the 88s of the alignment of Beth and the mirror.
Social Services" SS is 88 when Z = 1 
Knox-64 County-64 which is 8*8 and 8*8

The abbreviation for the state of Kentucky evokes Code 666 because KY has gematria of 18 and 216, or 6+6+6 and 6x6x6.

This feature requires a little license, and it has to do with the license plate.  A23651 could signal Code 666. The letter A is the 1st letter of the alphabet so if we make the substitution we can add 1+2+3 to get 6. The next digit is a 6. The final digits are 5 and 1, which sum to 6. If a small degree of license is taken with this license plate, the evocation of 666 resonates with the KY on the sign on Code 666. 
 
While Beth is looking out of the window-88, we hear, "Elizabeth-88 Harmon surveys-42 (6*6+6) "a troubled future"-216 (6*6*6)."

The social worker says, "good luck"-88 as Elizabeth-88 exits the car-22-13 through the door - Janus.

Here's where I chose to end this clip. We see Elizabeth-88 and the director walking hand in hand (Hand Hand HH-88) as they pass through a series of arched doorways. Janus, god of the arch, doors and passage. It's another stargate transit ritual that features like a bookend when compared with the opening scene where Beth gets out of the elevator on her way to the chess match.  

To wrap up this 3rd installment in the series, let's reflect on what we've seen so far.  

From The Queen's Gambit, many of the episodes were featured, some with multiple clips, others with none. In this installment, which is Part 3, there were 4 clips that were additional to the 4 covered in the previous installment. In Part 1 of this series, a clip from Alice Through the Looking Glass was featured with supporting clips from Fringe, Stranger Things, and The Mentalist.  

What you've been witnessing is some fairly advanced decoding. Hopefully, you're able to follow along and find the kinds of help you need to make sense of it, and to have a sense of why this is important. This kind of excursion isn't merely peripheral to what's happening in our world today. It provides perspective that is hard to find elsewhere, if you can find it at all. This is intended to help you get to the place where your eyes are open to see the kinds of things that influence the thoughts and behaviors of those who give their attention and energy to popular media like film and TV, news broadcasts, commercials, ads, theatrical productions like half time shows, music videos, and popular music. 

And finally, here's a few verses of scripture. 

The hearing ear and the seeing eye, the Lord has made them both.
Proverbs 20:12 
 
Do not participate in the unfruitful deeds of darkness, but instead even expose them;
Ephesians 5:11
 
For though we walk in the flesh, we do not war according to the flesh, 4 for the weapons of our warfare are not of the flesh, but divinely powerful for the destruction of fortresses.
2 Corinthians 10:3