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    50 Years Later

    The day JFK died: TV anchor recalls exclusive interview with assassin's mother

    Joe Leydon
    Nov 22, 2013 | 10:00 am

    Last weekend, Bob Schieffer returned to the scene of the crime.

    The veteran CBS newsman and longtime Face the Nation host was in Dallas – specifically, in the former Texas Schoolbook Depository, now the site of the Sixth Floor Museum at Dealey Plaza – to conduct interviews and tape commentaries for his Sunday morning program, as part of his network’s commemoration of the 50th anniversary of the assassination of President John F. Kennedy.

    Back in 1963, on the day of that dreadful crime, the Austin-born Schieffer – then a hustling young reporter for the Fort Worth Star-Telegram – was working in his newspaper’s city room, ready to take calls from reporters filing stories from Parkland Hospital, Dealey Plaza, Dallas Police Headquarters and other locations, when he grabbed a ringing phone. “In all my years as a reporter,” he would later recount in his 2003 memoir This Just In: What I Couldn’t Tell You on TV, “I would never again take a call like that one.”

    What happened?

    “A woman’s voice asked if we could spare anyone to give her a ride to Dallas.

    “’Lady,’ I said, ‘this is not a taxi, and besides, the president has been shot.’

    “’I know,’ she said. ‘They think my son is the one who shot him.’

    “It was the mother of Lee Harvey Oswald, and she had heard on the radio of her son’s arrest.

    “’Where do you live?’ I blurted out. ‘I’ll be right over to get you.’”

    He has never forgotten the terrible events that unfolded five decades ago, during what he calls “the weekend America lost its innocence.”

    And that is how 26-year-old Bob Schieffer landed an exclusive, career-boosting interview, conducted primarily during the hour-long drive from Fort Worth to Dallas, with Marguerite Oswald.

    Schieffer went on to become the first reporter from a Texas newspaper to report from Vietnam, and then reinvented himself as a broadcast journalist – first at WBAP-TV in Dallas/Fort Worth and later, from 1969 onward, as a member of the CBS news team. During his lengthy tenure with the network, he has covered all the major Washington beats – The White House, The Pentagon, Capitol Hill and the State Department – and logged thousands of hours of airtime covering everything from political conventions to country music icons. He served as anchor of the Saturday edition of the CBS Evening News for 20 years, and has hosted Face the Nation since 1991.

    And yet, despite his many accomplishments elsewhere, Schieffer has always remained passionately and indissolubly attached to Texas. Just as important, he has never forgotten the terrible events that unfolded five decades ago, during what he calls “the weekend America lost its innocence.”

    During production breaks at the Sixth Floor Museum, Schieffer graciously shared some of his memories about that unforgettable weekend.

    CultureMap: Have you ever thought about how differently your career might have turned out if you hadn’t answered the phone at that particular moment on Nov. 22, 1963?

    Bob Schieffer: [Laughs] You know, it was just one of those things. Total happenstance. I think that most stories that I’ve gotten over the years, I’ve gotten because I just happened to be in the right place at the right time. I think that’s how a lot of reporters get their stories. I think that’s why one guy gets the Pulitzer and another guy doesn’t. You just happen to be where the news is happening.

    CM: I guess what might seem so odd to anyone who wasn’t alive back then is, Marguerite Oswald’s first impulse was to call a newspaper to get a ride to Dallas.

    Schieffer: Well, when her son had defected to the Soviet Union, we had done a story about it. And she had dealt with reporters along the way on that. And she was such an outsider. You have to remember: These people were not from Texas, they were not of Texas. They were itinerants – they had lived all over. They’d be one place for a while, and then she’d move them to another place. At one point, she put Lee Harvey Oswald and his brother in an orphans’ home, and told them they were a burden to her. She’d been through multiple marriages. And I don’t think she knew anybody else to call. She’d worked as a practical nurse, and as a babysitter, and as kind of an au pair for various people. And I think because somebody at the Star-Telegram had dealt with her, that’s why she called.

    Actually, I didn’t find out until this year that earlier that day, she called the home of Jack Douglas, who was one of the editors of the Star-Telegram. But he and his wife were not there – they had gone down to see the President. And their 11-year-old son had been sent home from school after they had announced that the President had been shot. And when she called this house, this 11-year-old answered the phone. And when she said, “I need to get ahold of your father, I need to talk with him,” he said, “Well, he’s at work. But here’s the telephone number.” And I guess that’s when she called up the Star-Telegram – and I just happened to be the one who picked up the phone.

    CM: But, again, the idea that Marguerite Oswald or anyone else would think of seeking help from staffers at a newspaper office at such a moment – that’s probably unfathomable to most folks below a certain age.

    Schieffer: Yes, but you know, in those days, newspapers were so much a part of the community. There was no security system there – it was not at all like it is now. People could just walk in off the street. If they didn’t like a story that was in the Star-Telegram, they’d come up and complain to the city editor. There was an old man named Monroe Odum, who was almost blind, and he sold Star-Telegrams out on the street in front of the Worth Hotel, which was right next door to the Star-Telegram. And if he didn’t like the headline on the first edition, he’d come up and complain to the editor. He’d say, “I can’t sell a newspaper like this. Put some news on the front page.”

    That’s just kind of how it was – we were so much a part of the community. So while it was odd and unusual that Marguerite Oswald called – it was not that weird that people would call the newspaper.

    CM: For nearly two decades after 1963, you couldn’t mention the word Dallas anywhere in America – probably anywhere in the world – without people saying, “Oh, yeah, that’s where Kennedy was killed.” It was as if the entire city had been stained, even damned, by the actions of one man, Lee Harvey Oswald.

    Schieffer: Yes. There’s no question about that. And you’re hearing this from a guy who grew up in Fort Worth – and there was never any love lost between the two cities. But Texas and Dallas were seen as places for these right-wing hate groups. The John Birch Society was very big here. But actually, these were just pockets of right-wing hatred. When [President Kennedy] came to Fort Worth, 10,000 people came out at 10 o’clock at night to see him. The next morning, there were 5,000 people in the parking lot outside the Hotel Texas. There was a sold-out luncheon of Fort Worth’s A-list. And they weren’t all Democrats by any stretch. People just couldn’t get enough of him. They loved him. Ruth Carter, who was Amon Carter’s daughter — she and some other people got together this priceless art collection. Van Goghs, Picassos, all of this stuff. And they hung them in the suite where the Kennedys spent the night in the Hotel Texas. They just wanted to do something nice for them. That’s how people felt.

    Nellie Connally, John Connally’s wife, said as they rounded the downtown area, “You can’t say Dallas doesn’t love you, Mr. President.” And that was absolutely accurate. And then this happened.

    And you know that just minutes before the President was shot, they had that big reception for him at Love Field. They crowds were cheering him on during the motorcade. Nellie Connally, John Connally’s wife, said as they rounded the downtown area, “You can’t say Dallas doesn’t love you, Mr. President.” And that was absolutely accurate. And then this happened.

    But [Lee Harvey Oswald] was not of Dallas. He wasn’t from Dallas. He was a loser. A deeply disturbed failure at everything he had done. A week before, his wife had accused him of being impotent. He couldn’t get anything right. And he was about as far from the right-wing as you could get. I mean, he’d tried to kill Edwin Walker earlier that year. He was a Communist, a Communist sympathizer. He was a Castro sympathizer.

    And it’s interesting, some of the reporting that has come out about him in the past couple of years. We all knew about him going down to Mexico. But while he was there, he went to the Cuban embassy to try to get a visa to go to Cuba. And they said, “No thank you.” They didn’t want any part of him. They thought he was nuts.

    Like I say: This could have happened anywhere, in any city or any state in the country. It had nothing to do with Dallas. This was a deeply disturbed man. And to think that someone like this could have cut down the President…

    CM: Which is, really, to my mind, still the scariest aspect of this tragedy. I know there are people – intelligent people -- who believe in conspiracy theories. But I have always felt that Oswald acted alone. If there was any sort of cover-up, I think, it was a cover-up after the fact by people who should have had Oswald on their radar before he could pull the trigger.

    Schieffer: Well, the FBI and the CIA both withheld information from the Warren Commission. And we now know that through the reporting in recent years. But, again, it was a CYA deal. They were not part of a conspiracy. They were just afraid they were going to be blamed for not keeping [Oswald] on their radar, as you say.

    CM: Would you agree that, for a lot of people, the notion that JFK was killed because of an elaborate conspiracy isn’t nearly as frightening as the likelihood that a single crazed gunman had such an impact on history?

    Schieffer: In a funny kind of way, yes. It was hard for them to accept and process that somebody who was a total loser was able to kill the person who held the most powerful office in the land. And I think that’s one reason why we have all of these rumors and all of these tales of conspiracy – it just didn’t fit into people’s plotline that something like this could possibly happen. But I think it probably did.

    Bob Schieffer, left, and Joe Leydon at the former Texas Schoolbook Depository

    Bob Schieffer, left, and Joe Leydon
    Courtesy photo
    Bob Schieffer, left, and Joe Leydon at the former Texas Schoolbook Depository
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    Movie Review

    Star TV producer James L. Brooks stumbles with meandering movie Ella McCay

    Alex Bentley
    Dec 12, 2025 | 2:30 pm
    Emma Mackey in Ella McCay
    Photo courtesy of 20th Century Studios
    Emma Mackey in Ella McCay.

    The impact that writer/director/producer James L. Brooks has made on Hollywood cannot be understated. The 85-year-old created The Mary Tyler Moore Show, personally won three Oscars for Terms of Endearment, and was one of the driving forces behind The Simpsons, among many other credits. Now, 15 years after his last movie, he’s back in the directing chair with Ella McCay.

    The similarly-named Emma Mackey plays Ella, a 34-year-old lieutenant governor of an unnamed state in 2008 who’s on the verge of becoming governor when Governor Bill (Albert Brooks) gets picked to be a member of the president’s Cabinet. What should be a happy time is sullied by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her perpetually-cheating father, Eddie (Woody Harrelson).

    Despite the trio of men competing to bring her down, Ella remains an unapologetic optimist, an attitude bolstered by her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani). The film follows her over a few days as she navigates the perils of governing, the distractions her family brings, and the expectations being thrust upon her by many different people.

    Brooks, who wrote and directed the film, is all over the place with his storytelling. What at first seems to be a straightforward story about Ella and her various issues soon starts meandering into areas that, while related to Ella, don’t make the film better. Prime among them are her brother and father, who are given a relatively small amount of screentime in comparison to the importance they have in her life. This is compounded by a confounding subplot in which Casey tries to win back his girlfriend, Susan (Ayo Edebiri).

    Then there’s the whole political side of the story, which never finds its focus and is stuck in the past. Though it’s never stated explicitly, Ella and Governor Bill appear to be Democrats, especially given a signature program Ella pushes to help mothers in need. But if Brooks was trying to provide an antidote to the current real world politics, he doesn’t succeed, as Ella’s full goals are never clear. He also inexplicably shows her boring her fellow lawmakers to tears, a strange trait to give the person for whom the audience is supposed to be rooting.

    What saves the movie from being an all-out train wreck is the performances of Mackey and Curtis. Mackey, best known for the Netflix show Sex Education, has an assured confidence to her that keeps the character interesting and likable even when the story goes downhill. Curtis, who has tended to go over-the-top with her roles in recent years, tones it down, offering a warm place of comfort for Ella to turn to when she needs it. The two complement each other very well and are the best parts of the movie by far.

    Brooks puts much more effort into his female actors, including Kavner, who, even though she serves as an unnecessary narrator, gets most of the best laugh lines in the film. Harrelson is capable of playing a great cad, but his character here isn’t fleshed out enough. Fearn is super annoying in his role, and Lowden isn’t much better, although that could be mostly due to what his character is called to do. Were it not for the always-great Brooks and Nanjiani, the movie might be devoid of good male performances.

    Brooks has made many great TV shows and movies in his 60+ year career, but Ella McCay is a far cry from his best. The only positive that comes out of it is the boosting of Mackey, who proves herself capable of not only leading a film, but also elevating one that would otherwise be a slog to get through.

    ---

    Ella McCay opens in theaters on December 12.

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