The Taking of America One Two Three
Hagmann/Hagmann
By Douglas J. Hagmann
By Douglas J. Hagmann
In late 1974, the movie The Taking of Pelham One Two Three,
based on a novel of the same name, was released.
The main plot involves
four men, using colors as code names, boarding the subway at Pelham
station in New York at 1:23 pm., (hence the name) where they ultimately
take a subway car full of hostages. They demand one million dollars or they will begin killing hostages.
Today, America appears to be in a
similar position. The United States is that subway car and we, as
citizens, are the hostages under the control of a small group of people.
The difference, however, is that our intended fate will be decidedly
different than the hostages in the movie. Our captors simply want us
dead.
It is interesting to note that earlier
that same year, an article appeared in the Council on Foreign Relations
quarterly publication Foreign Affairs titled “The Hard Road to World Order.” It was written by Richard N. Gardner who wrote the following:
“In short, the “house of world order” will have to be built from the bottom up rather than from the top down. It will look like a great “booming, buzzing confusion,” to use William James’ famous description of reality, but an end run around national sovereignty, eroding it piece by piece, will accomplish much more than the old-fashioned frontal assault. Of course, for political as well as administrative reasons, some of these specialized arrangements should be brought into an appropriate relationship with the central institutions of the U.N. system, but the main thing is that the essential functions be performed.”
To fully appreciate and understand the
context very last scene of the 1974 version of the movie, one must watch
the entire film. So it is with the current events taking place in
America today. You will not understand the context of certain events
taking place without seeing the entire picture, or the “big picture.”
CFR member Richard Gardner, who joined the Columbia faculty in 1957 and
was a professor at Columbia Law School through 2012, the alma mater of
Barry Soetoro, a/k/a Barack Hussein Obama, provides an overview of sorts
for “The Taking of America One Two Three” in his 1974 article.
Nonetheless, let’s look further into “The Taking of America One Two Three.”
Plot summary (Caution: contains spoilers)
Against the backdrop of a Constitutional
Republic known as the United States, the story begins by a rapid
historical recap of the founding of a nation, the creation of an
immutable document known as the Constitution of the United States and
the Bill of Rights, and slows in the early years of twentieth century.
Then a small group of powerful men, aided and abetted by government
insiders and the press, conduct an “end around” our national sovereignty
and capture the nation’s economy through the creation of central banks and an income tax that lines the pockets of the bankers, despite reports to the contrary.
This same group, operating under the
codename “The Committee of 300″ as meticulously documented through the
extensive research of Dr. John Coleman, becomes more entrenched in
nearly every aspect of American government and society. Through their
wealth and power, they influence U.S. politics to the extent that U.S.
presidents are first selected before they are elected, as are the
Secretaries of State appointed by each president. This “Committee of
300″ creates and nurtures sub-organizations, such as the Council on
Foreign Relations, the Trilateral Commission, and many others. Like a
destructive virus, these cretins infect the host bodies of our
political, financial,
corporate, religious and societal institutions. This infection causes
national immunodeficiency, or the state in which our national immune
system, the U.S. Constitution, is compromised.
Political leaders who associate
themselves with the right-left paradigm enter the scene dressed as
physicians, posing as knowledgeable and helpful saviors, pretend to
treat this national infection. (Note: the audience who has seen the plot
from the beginning and read the book on which the movie is based
realize that these leaders are the actual captors. They know the
history, and are not fooled. Others in attendance are fully entranced by
the action onscreen and don’t understand the twists and turns of the
subplots).
The film speeds through the world wars
and police actions, the assassination of JFK, the Watergate “scandal,”
and begins to become more intense with scenes from the opening shots of
Desert Storm, the passage of the NAFTA and GATT treaties, the repealing
of the Glass-Steagall Act and the related consequences, and stops
momentarily on September 10, 2001. At that point, Secretary of Defense
Donald Rumsfeld is shown announcing that $2.3 trillion of the defense
department budget cannot be accounted for, followed by scenes of the
carnage the following day.
From there, scenes of attacks against
Afghanistan and Iraq play out under George W. Bush, who happens to be
the son of former President George H.W. Bush. Amid the main plot are
numerous complex subplots that relate to previous scenes, ultimately
progressing to one of the leading characters being selected and
ostensibly elected as the 44th president of the United States under
mysterious circumstances.
This character is double-billed as
Barack Hussein Obama and Barry Soetoro, a man of questionable
eligibility to hold the office under Article II, Section I, Clause 5 of
the U.S. Constitution. An investigation into this character’s
constitutional eligibility is thwarted at every turn by individuals in
power, taking their orders from the now fully functional shadow
government answerable to the global elitists, previously billed as “The
Committee of 300.” Even the “good guys” clamor that this character’s
eligibility is nothing more than a distraction, and soon convince many
that they are racists, bigots or at the very least, conspiracy nuts for
even mentioning this character’s origins.
But it’s not just the origins of this
character that is of concern, but his allegiance to the United States.
The importance of this problem becomes much clearer as this
Soetoro/Hussein character surprises even his earlier supporters by
continuing an aggressive war posture, increasing domestic surveillance,
and generally running the country by fiat.
The final scenes of the movie are tense,
where the Obama/Soetoro character is shown filling his inner circle
with Marxists and Islamic terrorists, nationalizing a large portion of
the country’s economy and consolidating immense power by overseeing the
implementation of national health care, purging the military, expanding
national surveillance, equipping a federalized army with billions of
rounds of ammunition, destabilizing the Middle East, and pushing for a
U.S. Senate rule change that effectively permits a coup of the
judiciary. Meanwhile, much of the supporting cast, many dressed in white
hats and appearing to oppose this increased tyranny, are exposed for
who they are and their allegiance to a globalist agenda through their
associations with ”The Committee of 300″ and its associated groups.
There is cinematic chaos as scenes of
various twentieth century tyrants flash across the screen between scenes
of Obama/Soetoro gradually being elevated to the position of a tyrant
himself. Film directors Henry Kissinger, Zbigniew Brzezinski, and George
Soros surprise audiences by cameo appearances.
As the camera pans to various
individuals in power, political pundits, and members of the media,
special effects and graphics are used to reveal their true allegiance,
either as unwitting dupes or willing prostitutes in the employ of the
shadow government.
By then, it’s too late. The subway car
is shown screaming down the tracks as helpless onlookers begin to weep
for those aboard. Before fading to black, a “remnant” of individuals
suddenly emerge from the crowd, breaking free from their trance-like
states to save those aboard. There is acrimony and chaos as the main
cast members, many believed to be on the side of the good and righteous,
attempt to stop this group of men from saving the subway car, using
every tactic available to the shadow government.
But is it too late?
Genre: Nonfiction; playing at locations all across the U.S.