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Lech Dokowick's testimony part 2

on Tuesday, 01 May 2012. Posted in Testimonies

Quis ut Deus!

Lech Dokowick's testimony

 

Continuation from Part 1 that was published in the March-April 2012 issue of MICHAEL Journal.

On Holy Thursday (the day before Good Friday), we went to the hospital for the first time. After a few hours the [my wife’s] labour pains calmed down and went away so we were sent back home. Good Friday was relatively calm. Again on Holy Saturday, there was an alarm and I drove my wife quickly to the hospital but everything calmed down again. Then on the morning of Easter Sunday, our son Robert was born. At that point I had been outside of the faith for 17 years that so Sunday was like any other day of the week for me. I didn’t even think about the fact that this was the most important day of the year for a billion people around the world.

Peter told us earlier that after our child was born, regardless of where Peter was in the world that day, he would get on the first plane to be with us and he did just that. The next day, he flew to Berlin, came to the hospital and asked if he could be with the child for a bit. We agreed, of course. He took our child aside (about 20 metres away from us), sat down with him, stroked him and talked with him just as you would do with a young child. Afterwards, he said farewell to us and I agreed to meet with him in three weeks time for Mayday – the largest techno event in the world. After my wife felt better, we went to my parents’ home in Poland to relax.

After we went back home, during the first or second night, something strange started to happen with our child. At midnight he started to make [half-animal, half-human] sounds that really scared us. What was even stranger was that this would last about an hour, then he would calm down and the rest of the day he was like an ordinary baby. Later on our friends asked us why we didn’t go to the doctor or ask our parents. Today I realize that we were blinded. We didn’t want to face this problem. All sorts of weird things happened in our life back then; it was all really beyond us.

There are situations when a person – even though 10 other people see clearly what is happening – that person does not know what is going on. We were exactly in that kind of situation. Our son’s strange crying continued day after day.

Three days before my return trip to Germany, a young couple came over to visit us. We had met them at a club in Sopot called SPATiF. The couple were in their 20s and they always wore black. They would stand in the corner, never taking drugs or drinking alcohol like the rest of the club-goers. They only watched and enjoyed themselves doing so. One day my wife went up to them and we started talking. It turned out we had a similar opinion about many things and so we got acquainted. We had a nice relationship with this couple.

The young man was a graphic artist. One day he brought a charcoal drawing he had made for us. He said that the drawing was a present for our child and that we should hang this picture over his bed. My wife and I have very good communication with each other. We looked at each other and I knew she was thinking the same thing I was. As soon as the couple left, it was clear that we had to destroy the drawing. Why? The drawing portrayed an old man sitting on an old iron mining cart from the 19th century; he was sitting on the edge of the cart with his arms limp over the side. His head hung down as if he did not know what was happening to him and the cart was speeding downwards. We decided it was not a good idea to put this drawing in the room of our newborn child.

I said to my wife, “Let’s destroy the drawing but keep the frame.” I liked the look of the frame and wanted to keep it for something else. When I opened it up, I saw that there were two other drawings underneath the first one. Both of the drawings portrayed a similar scene: an angel rising up towards heaven with two arrows speeding towards his head. So in all there were three images: one of an old man with the cart speeding downwards and two of angels right before their destruction. I told my wife that too many strange things were happening and that I would ask Peter to explain clearly as soon as I arrived in Germany.

I got into my car and drove to Hanover, then to Dortmund. On the night of April 30th the largest techno event in the world is held, called Mayday. This night is specific to European occultists and it is called the Night of Walpurgis (Walpurgisnacht). This is the night where (according to occultist beliefs) the goddess of love joins with the god of war. Joining sex and violence forms a destructive emotion for the human soul: it is really a perversion. This event took place in the largest hall in Germany which stood next to a soccer stadium called Borussia Dortmund. The hall had 6 stories and 20,000 young people from the USA, Japan, and from many other countries came to experience this.

In front of the hotel near the hall where we would sleep after work, I met Peter. I opened the trunk of my car and while I was doing that, I asked him about the strange things that had been happening. It was very strange because he suddenly became confused. Peter was a person who always had an answer to every question, and a quick answer, at that. Suddenly I saw he was lost. Something was not right. He said that this was mere coincidence that those images were below the first one. He also said that we don’t have time to talk about this, since we have go to the hall and get ready; that the final sound-checks and checks of the lasers were in progress, and we had to test our equipment. I felt strange about his response, and believed that he was hiding something from me. But I decided to discuss this with him in detail afterwards.

MaydayWe went to the hall where the final checks on the equipment were being done. The equipment for Mayday is incredible: the most up-to-date technology and the latest equipment available that year. There were enormous walls of speakers, lasers, light and sound systems. The people who work there earn a lot of money working on these techniques. That night, once a year, these people meet.

First we got ID cards with photos that let us move between all the sectors. There was a TV station recording the event live until 1 a.m. and various photographers. However, they had to sign a waiver saying that the reporter must stop recording at 1 a.m. They can come again the next day or they can stay and party with the rest of the people but they are not allowed to record anything after 1 a.m. Peter and I did not start working that night until 1 a.m. After [the equipment checks], Peter started to work on an animation that he wanted to show that night. Later we met with some friends, talking and catching up.

At 7 p.m. the gates opened and the youth that had camped out outside started to pour in. About 60-70% of the youth there take ecstasy but some also take cocaine, amphetamines, marijuana or hashish. Many of the young people mix these with alcohol. Around 7 p.m. the entire event began. The first DJs who play are those who were playing at this event for the first time. As the night goes on, more experienced DJs take over and play.

So now I will show you folks, [brothers and sisters] a clip of the 1996 Mayday, so that you can imagine how all of this looks like. What you will see shortly in the background on the so-called double screen, is Peter’s work, with whom I worked for a few years. You will see how the event is setup. Here is the central symbol of that Mayday: an oval, a symbol of a magic circle of the year in 1996.

That night there was also a structure in the shape of a cross. It hung over the crowd on chains and had reflector lights mounted on it. These lights could change to any colour and the cross could be moved quickly using electric motors while lasers projected various symbols on the edges of the cross. In a moment we should be able to see a bit of how Mayday looks like. (Editor’s note: here Lech shows his audience a video clip of the event.)

When I show this to young people in school, they ask for more. Most people here have an opposite reaction. This is understandable since one’s reaction depends on one’s spiritual sensitivity.

A good DJ knows how to evoke aggression, change the rhythm of the heart, evoke sexuality, and how to use music to stimulate an entire group. As you noticed (in the clip) he used a rhythm that rose higher and higher to a climatic point. When the music reached that climatic point all the young people jumped up and shouted. Those are moments where endorphins reach the brain. These moments of joy inside the hall happen every few seconds throughout the night. The night itself has a certain rhythm that is passed from one DJ to another.

That night at 1 a.m. we started work. The famous DJ WestBam started first. The lights in the hall were dimmed down 40%, so that the images that Peter projected started to dominate the entire hall. Unlike in the clip where there was a double screen; that night there were 4 giant screens in each corner of the hall. So if a person had their eyes open, he could watch Peter’s work [from any direction]. He said when we sat down to work at the machines, “Please pay close attention to what I am about to show you. The time has come to explain to you who we are, what do we do and why.” So I concentrated on the images that he was showing. The images were for these 20,000 people firstly, and secondly to teach me.

First I saw a wide-angle lens filming a large oceanic aquarium scene. A scene like one would see in Florida: a large pool separated from the rest of the ocean by a long net. In that pool, a family of 8 dolphins swam together in a synchronized manner as these animals do. I also need to add that the dolphin is the symbol of the people who created the techno scene. They chose the dolphin as their symbol because these are animals who communicate twice as quickly as humans do. Also these animals can be in constant contact with the other members of their group.

You could see a group of dolphins moving together in unison. Suddenly from the right side of the screen, someone started pumping a black liquid. At this the animals panicked and the group fell apart. Each dolphin started worrying about itself. Each one moved into a corner to try and avoid the liquid that darkened the water. After some time, their nervous system started reacting automatically. Some of them started spinning around their own axis. Some of them started jumping clumsily out of the water. Sometime later the animals exhibited even stronger reactions. The entire group sunk to the bottom and started convulsing on the sand. Sand started lifting into the water. The photos became very uncomfortable. It looked as if the creatures were dying, as if something had poisoned them.

After a while, one of the dolphins swam upwards in a spiral to the surface, took a breath and started waking the others. Sometime later, a second one joined the first. The two swam up together, splitting apart (at the surface), and started waking the others. After a few minutes all of the dolphins in the group joined them. They swam together, swimming in a spiral to the top, splitting apart at the surface and again. It looked beautiful like an underwater ballet. I remember watching in fascination, because these were real photos. I wondered how someone could have filmed such a thing.

After some time, the entire group jumped and emerged out of water. This transitioned to the animation that Peter had worked on earlier at 7 p.m. As they emerged from the water in formation, their bodies’ shapes transformed into the shape of something like aircraft or rockets. Then you could see earth from low orbit, some 60,000 meters above the surface. It was a beautiful view like what astronauts would see from space. From the flying formation you could see smaller cylindrical objects dropping from them down to the surface. Then explosions followed and flags of different countries appeared: USA, China and Russia, as if these countries were competing with each other. On Earth greater and greater destruction occurred: geysers, fires, black smoke... Soon the surface looked like a volcanic surface. Everything was completely destroyed. I understood what Peter was trying to say through these images, so I nodded in his direction that he would show more of his images. The meaning was clear. The film prophesied some sort of global conflict and the destruction of the earth by a nuclear war.

I nodded and he proceeded to show more images. The camera seemed to be mounted on the ceiling looking down. There were three men wearing protective nuke/hazmat suits similar to those used during the Warsaw Pact. They wore gas masks with an air filter on the side and each man had a shovel in his hands. All they were doing was digging into the ground and throwing the dirt to the right of them. They did this in a synchronized manner, minute by minute, and nothing else was happening. They stood with their backs to each other. I looked for some details in this image but I could not understand it. Then I looked at the whole of the picture and I saw something changing. As they dug and threw away the black earth, the fresh earth underneath revealed a symbol starting to form in the clean earth. It looked like and I interpreted it as a certain Buddhist symbol that I knew of. I saw three nines (9) with their arms directed toward the centre connected together. The fresh earth formed a mound and each man stood inside these 9s. The dirt that fell down in a circle formed the arms in the centre.

I asked Peter to show the next film. He showed a film taken from the 1920s portraying two twin boys wearing white shirts and black pants. But both twins did not have a right leg from the knee downwards and instead stood on wooden peg-legs. Their hair was combed back and gelled down. One of them lay on the ground, while the other stood. The one who lay on the ground tried to stand up with great difficulty. It seemed that the wound was fresh, because he grimaced and sweated as he tried to get up. He trembled violently but every time he got up a little bit he fell down again. Again and again he tried to get up and fell down each time. The images were macabre and difficult to watch. After some time, the boy was able to stand up. But as soon as he stood up, his twin who was standing with difficulty fell down. Then it happened all over again. The one who stood tried to maintain his balance and the one who fell down tried to stand up. I watched them for a long time but I could not understand what these images had in common with the previous images. I looked at Peter and told him that I didn’t understand. He smiled and then pointed at the 20,000 young people. He made it clear to me that these images pertained to the 20,000 young people in the hall.

At that moment I experienced something that came to me with a lot of strength. I realized that some sort of manipulation was happening here and that Peter was controlling these young people in such a way I did not before imagine was possible. This evoked a feeling of bewilderment in me. When I joined the techno movement I thought we were changing the world in a positive manner. Now I saw that we were the people at the top; that something was happening to those below. This was a strange feeling for me. I wondered, why was he doing this? Then Peter did something he had never done before. He took my hand, guided it over the machine, and inviting me to experiment what happens when I started manipulating 20,000 people.

Inside of me I felt something strange. I looked for an answer about what was happening and I could not think of what to do. I realized that Peter was waiting for me to do something, and that my hand hung in the air. So I looked at the machine and I attempted to do the simplest thing. I moved a joystick forward. This joystick was responsible for controlling the colour in the entire image.

Blue colour flooded the screens. Then something very strange happened. It was as if someone had pulled the plug for the electricity in the entire hall. All the lights went out and the emergency exit lights lit up. Peter jumped up, pushed me away angrily from the machine and started swearing like I’ve never heard him before. He started to calm the machine down, turning various modules on and off. I looked at the person working the lasers and he was doing the same. I looked at the person operating the lights, and he was also doing the same. I saw the DJ pulling out a new disc. I was startled. Not because of what I thought that I had done but because the power went off when I first made my decision.

Peter nudged me and said. “Look at what I am about to show you. This is very important.” Again I channelled all my energy on concentrating on the image. The DJ put on an album whose rhythm matched that of an earlier song. It was a fast, hard-hitting beat that sounded like a marching army. The people in the hall were already in a trance, as they had been dancing for hours. Peter started cooperating with two camera operators who were filming inside the hall for the Mayday event organizers. We had monitors that let us see what they were filming. The operator would pick one particular individual who was in the hall. This person did not know he was being filmed and had given up control of himself. He moved to the rhythm of the music with closed eyes. Peter overlaid the image of that dancing person with an image of a person climbing a 10-metre concrete tower over a pool. The image alternated every 1/4 second between the dancing person and the climber.

Peter’s film was of this person who climbed to the top of the tower. The person would then spread out his arms and move to the edge of the board. As he is standing at the edge, suddenly his body started leaning forward, unnaturally as if the person had gotten shot in the back of the head, and then, in slow motion, the film shows a falling body. This was not a controlled fall but rather uncontrolled, onto one’s head. The images alternated between the free-falling person and the filmed person who was dancing. The body fell until there was a flash. Then the camera picked another dancer. Again the film alternated between the dancer and the person who climbed up the tower, went to the edge and fell.

At that moment I experienced something like what people who survive car accidents experience. In front of my eyes I saw this film and I understood with complete certainty what was happening. That cross was not a cross-like construction hanging on chains; rather it was the Cross that was being profaned. That symbol was not of three 9s but rather of three 6s and that these people with whom I worked were Satanists. Around the world they had created a huge fascinating toy for millions of people, and I was one of them. There was no going back for me. I knew it was something that I could take in only one direction.

But the thought came to me that from now on I would be able to do whatever I want. I would get to work on fascinating projects. I could choose whatever people I wanted to be with. Money would be no object; I would live an unbelievable life. Then another thought came, that I have to immediately leave my wife and child and never return because I did not want my wife to follow me where I would have to go. Another thought came to me; “Everything will be yours; you will experience fascinating things.” Suddenly yet another thought came to me: that in the end, I would pay for it all by going to hell.

This completely shocked me because for the past 17 years I never thought about life and death in these terms. I was frightened. I realized that I had lost the most important calling that a person had. Then I had the sensation of a soul falling to hell. Not of hell itself but rather the moment of the fall. Someone once asked me how it felt and I compared it to a person who commits suicide by jumping off a building. The moment he performs the step, he realizes that he wants to live. But it is too late and he knows that with every second he is falling closer to his predetermined destiny and there is no escape. I felt this way. It was such a disgusting feeling that I fell on my knees in great fear. I started screaming with all my heart, “Our Father who art in Heaven.” When I said these words I saw in my soul an image of Saint Michael the Archangel, with a flaming sword in his hand. He asked me three questions, first: “Do you believe in God?” I said “Yes!” Second: “Do you deny Satan?” I replied again, “Yes!” And third: “Do you want to fight against him?” I said “Yes!” When I got up from my knees, I believed in God. I remember this wild joy running through me. I understood that what my parents had told me in my childhood was true. God actually exists! He lives, He really lives!

Then I saw Peter standing beside me. I saw every possible emotion running through his face from bewilderment to surprise to hatred. He tried to stop me but I pushed him aside and ran to escape. My first thought was that they might want to do something to me. They might want to grab me and do something to me and someone would find my body in some bushes because I knew some things about Peter and the others that a person shouldn’t know.

I needed to get to the hotel to get my passport and car keys. But I could not take the short way that I knew to the hotel. That route was being watched over by people from the techno movement and they had walkie-talkies to communicate with each other. Instead, I needed to find another way out.

Lech Dokowicz

Translated by Dorian Pula

(to be continued in the next issue)

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