“We really did kill those people,” says Kevin Weeks, the former mobster and right-hand man to notorious crime boss Whitey Bulger. “But the movie is a fantasy.”
The film that has Weeks riled up is Black Mass. Directed by Scott Cooper, it stars Johnny Depp as Winter Hill Gang leader James “Whitey” Bulger, and depicts the menacing Irishman’s rise up the criminal ranks from low-level gangster to the most feared criminal in not just his native South Boston, but the state of Massachusetts. Whitey was able to rise so far so fast thanks to his special relationship with the FBI, especially agent John Connolly (Joel Edgerton)—an old neighborhood friend on Whitey’s payroll who’d funnel him information in exchange for intel on the local Italian mafia, led by Gennaro Angiulo. Bulger was eventually arrested in 2011 at an apartment complex in Santa Monica, California, after being on the run for 17 years, and was indicted for 19 murders. He was convicted of 11 of those murders, and is serving two consecutive life sentences behind bars. Interestingly enough, while Whitey’s reign of terror was going on, his brother Billy (Benedict Cumberbatch) was the most powerful politician in the state, serving as president of the Massachusetts State Senate.
Weeks, who’s portrayed in the film by Friday Night Lights’ Jesse Plemons, started out in 1976 as a bouncer at Whitey’s local haunt Triple O’s, and by 1978 he was serving as Whitey’s driver and personal muscle. He officially joined the Winter Hill Gang full-time in 1982, and, along with Johnny Martorano and Stephen Flemmi, served as one of Whitey’s devoted henchmen. In 1999, Weeks was arrested on a 29-count indictment in a RICO case. In exchange for his damning grand testimony against Whitey, Weeks received a 5-year prison sentence. He was released in 2004, and has since penned three books, including the recent Hunted Down: The FBI’s Pursuit and Capture of Whitey Bulger, which hit shelves on July 22.
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And to say that Weeks is unhappy with the film would be a major understatement. “My character looks like a knuckle-dragging moron,” says Weeks. “I look like I have Down syndrome.”
According to Weeks, the filmmakers behind Black Mass “didn’t consult with anyone within the inner circle about the movie,” and as a result, there are major discrepancies between what really happened and what happens onscreen.The Daily Beast spoke with Weeks—who saw the film opening night—who opened up about what Black Mass got right and wrong, the murders they committed, and a foiled attempt to assassinate Boston Herald journalist Howie Carr.
You saw Black Mass on Friday night. What did you think of it?Very disappointing. The only resemblance to Whitey’s character was the hairline. The funny thing is, Whitey’s look didn’t really change at all, just his clothes. It’s like we were stuck in a time warp. And the mannerisms—the way that Whitey talked to us—he never swore at us. In all the years I was with that man, he never swore at me once. We never yelled at each other. The opening scene of me getting beaten up? That never happened. They also have me talking to a black FBI agent in the beginning of the film, but I wouldn’t talk to the FBI. I spoke to a DEA agent, Dan Doherty. And my cooperation came after Johnny Martorano started cooperating. Nothing in the film is chronological, really.
The biggest chronological discrepancy in the film was the death of Bulger’s son, which took place in 1973. The film makes it seem like his boy died later than that in order to position it as his motivation for upping his killing and crime activity.
They made it seem like that was the reason why. I wasn’t there for the death of his son—that happened before my time—but I was there for the death of his mother, which he took pretty bad. But really, Whitey was violent long before his son’s death. And the way the film portrays people like Stephen Flemmi and myself? We come across looking like a step away from Down syndrome, really. We’re portrayed as these low-life thugs that are borderline morons who haven’t washed for weeks. For all the money we were makin’, we came off like paupers. We dressed a certain way during the day, but at night we were wearing $2,700 Louis suits. There’s a scene early on in the film where Johnny Martorano’s character is at the bar Triple O’s, and is reaching into a peanut bowl, licking his fingers, and sticking them back into the bowl, and Whitey starts mocking him for it. First of all, Johnny Martorano was never in Triple O’s. Second, if Whitey ever started talking to Johnny like that—berating him—the movie would be over because Johnny would’ve shot him right then. As bad as Whitey was, Johnny was just as capable—if not more.
Right. Johnny was known as “The Basin Street Butcher.”
He was a violent killer. There’s another scene later on where Whitey is yelling at Stevie [Flemmi] in the car outside the police station where they’re waiting to pick up Deborah Hussey. The language is all wrong. We never really cursed like that unless we were grabbing somebody, and Whitey never would’ve berated Stevie, either. Stevie was a psychopath. Stevie would’ve killed him. And Stevie is portrayed as a very sympathetic character.
In the scene you mention, they pick up Hussey, take her to a house, and Whitey strangles her to death.
Right. And I’m already in the house—they show me in the background. The true story is that me and Jimmy went to that house and we were waiting for Stevie. That house was for sale, and we already had two bodies buried downstairs. When I get to the house with Jimmy, he says, “Oh, we’re waiting for Stevie and Deborah. Stevie might buy the place.” I go and use the bathroom upstairs, and as soon as I come down the stairs, I see Stevie and Deborah come in, and I hear boom-boom. I walk in and see that Jimmy had strangled her. I thought she was dead, but then Stevie put his head on her chest, said she was still alive, and he put a clothesline rope around her neck, put a stick in it and twisted. And then after, Stevie dragged her body downstairs and pulled her teeth out. So Stevie wasn’t all sympathetic, mourning, and sorrowful like he is in the movie. Stevie enjoyed murder.
Back to Johnny Depp’s performance as Whitey. The film made Whitey seem—relatively speaking—like a sympathetic character. He’s portrayed as a very loving family man.
He had a son, Douglas, and he did die of Reye’s syndrome, but Jimmy wasn’t this doting father. Lindsey [Cyr] lived in Quincy, and he used to preach to me all the time, “If you’re gonna be a criminal, you shouldn’t have kids. They’re a liability.” And that scene at the dinner table between Jimmy and Douglas where he tells his son, “Punch them when the other kid isn’t looking,” he didn’t talk to kids like that. He was my older son’s godfather and I remember the way he’d talk to my son. He just talked to him like he was a young kid. Oh, you playing baseball? Normal conversation. He didn’t bring business back to the house. So his portrayal of him, outside of the makeup, I couldn’t believe it. The hairline was fine but the teeth were terrible, too. Jimmy had one front tooth and a nerve in it had died so it was one shade less than white—a little yellow, ya know. And his girlfriend, Cathy [Greig], was a hygienist, so his teeth were in great shape except for that one tooth.
Whitey looks vampiric in the film—like a ghoul.
He really does. There’s one scene I have a really big problem with, and that’s a scene down in Miami. Now, I was never down in Miami and they never met Johnny [Martorano] down in Miami. They met Johnny out in a hotel by La Guardia Airport, and it was just Jimmy, Stevie, and Johnny who discussed the John Callahan murder, which came after Roger Wheeler. In the scene in the film, they have me down in Miami and we’re all sitting there. Callahan goes to give Jimmy a big of money and Jimmy says, “Give that to Kevin.” And I take it. And then Stevie supposedly propositions Brian Halloran to kill Roger Wheeler, and Jimmy notices Halloran’s demeanor and says, “Kevin, give him the bag with the $20,000 in it, and forget what you heard here.” That never happened. In fact, I didn’t know about Roger Wheeler’s death until the Callahan murder. So just by having me be there giving Halloran the money, they have involved me in a conspiracy to kill Roger Wheeler. I’ve been libeled. I wasn’t involved in that at all, so I have a big problem with that. I just don’t know where they get the right to put events in there that did not happen.
What about the turf war between the Winter Hill Gang and the Angiulo crime family?
Well, another scene in the beginning where Jimmy pulls up, I get in the car, then we drive somewhere and beat up a guy, and his name is “Joey Angiulo,” and he’s identified as Jerry Angiulo’s nephew. Just by saying that name, “Angiulo,” that never would’ve happened because if it did, there would have been a war. If it did, to make peace, Jerry Angiulo would’ve said, “Kill Kevin, and it’s over.” That scene did happen to another fellow, Paul Giaimo, and the story was that he’d slapped Whitey’s niece. We got him in the car, drove up to M Street Park, proceeded to give him a beating, then drove him up to Cassidy’s and left the body out front so all his friends could see. Then we found out later on that we beat up the wrong person. But by making up this name and saying “Angiulo” and the mafia, it was so unrealistic. There would have been bodies in the streets if that happened.
As far as the FBI is concerned, the film seemed to really let the Bureau off the hook. John Connolly and John Morris are the only FBI agents in the film who seem to know about Whitey’s double-dealing, and they’re portrayed as sympathetic pawns, to a degree.
The FBI were the ones that enabled Jimmy and Stevie to survive. There’s a scene early on in the film where Connolly and Jimmy make this “alliance,” and then Jimmy goes back and tells Stevie about how they’re going to use the FBI against the mafia. That didn’t happen because Stevie had already been an important since 1965. In 1967, Flemmi and Frank Salemme blew up Joe Barboza’s attorney, John Fitzgerald, and then Stevie and Frankie went on the run, with Frankie going down to New York and Stevie going up to Montreal. Stevie comes back to Boston in 1974, and then the following year, Jimmy becomes an informant. And Connolly was on the payroll. We considered Connolly a criminal, too. He was our informant, and that’s how it was portrayed to all of us—that we were paying for his information. That’s why no one suspected that Jim Bulger was informing on us, because every time we made a score we’d put money aside to pay our contacts in law enforcement, and we were getting good information. Jimmy used to tell me, “I can call any one of six FBI agents and they’ll come to me and jump in this car with a machine gun and go on a hit.” One FBI agent actually gave us 17 kilos of C-4 which we were going to use to blow up a reporter, Howie Carr. Howie thought it was a made-up story, until he found out it was the truth.
Why did Bulger want to assassinate Howie Carr?
He was just a vicious bastard. He was attacking everybody—innocent people and everything. There was a time when we weren’t doing much and everything was running smoothly, and he wrote an article about this kid in South Boston who got killed, and Jimmy decided to make him a hobby and shut him up once and for all. When I look back on it, I wish we did kill him. He’s still the most hated reporter in Boston. Everybody hates him.
And it wasn’t just the FBI that knew about Whitey and what he was doing. Jeremiah O’Sullivan, the head of the organized crime task force, was giving information to Connolly. Every time Whitey or Stevie’s name was mentioned they’d give the information to Connolly knowing that Connolly would be giving the information to us. They were all on the payroll. All of them were receiving presents all the time—money, wine, trips. Some agents you couldn’t give money to because they’d feel insulted, so you’d give them a crystal or a Chelsea Clock. Everybody had their weakness.
One mystery surrounding Whitey Bulger is the Lady of the Dunes—the nickname for the body of the mysterious woman found at the Race Point Dunes. Many believe Bulger murdered her.
That wasn’t him. What happened was, because of Deborah Hussey and Debra Davis being killed, he used to visit Provincetown. And he’d usually have his girlfriend or a young girl he was with. But Whitey didn’t kill her. That’s just people jumping on it and saying, “It could have been him.” He didn’t do it.
But Whitey did kill Debra Davis, you’re saying? That murder was never actually proven to be Whitey’s doing.
I wasn’t there for Debra Davis—it was just Jim Bulger and Steve Flemmi—but here’s the story I was told: [Whitey] told me how when he was in the house with Stevie, they grabbed Debra, dragged her downstairs to the basement, and put her in a chair. She was being killed because she was going to leave Stevie, and he’d told her too much—including about his relationship with John Connolly. So she’s in the chair and Stevie begins putting duct tape around her. She had beautiful hair, so Jim Bulger said to me, “When the duct tape went around her face and her hair, that’s when I knew it was over.” And Stevie kissed her on the forehead and said, “You’re going to another place now.” And then Jim Bulger’s exact words to me were, “And then she was strangled.” So he didn’t say who strangled her.
The relationship between Whitey and his brother Billy has always fascinated me—that the most notorious crime boss in Boston could have a brother who, as president of the Massachusetts State Senate, was the most powerful politician in Massachusetts.
OK, I was up at Billy Bulger’s house over 100 times with Jimmy. He never discussed any street business or crime with Billy. It was always conversations about regular family stuff. There’s no doubt in my mind that Billy knew Jimmy was involved in the rackets, but as far as the murders, if Billy did hear something about that I bet he’d choose not to believe it, because he’s a very religious man. There was the case of Senator John E. Powers, who was a judge. He fired Whitey from being a janitor at the courthouse. Billy never forgave him for that because after Whitey was fired from that job, he started committing all these crimes and stuff. So when it came to John E. Powers getting a raise or anything like that, it never made it past Billy Bulger in the Senate. So if someone was attacking his family, sure, he would stick it to that person whatever way he could legally. But as far as shielding Whitey from investigations? Billy never did that. Never.
Whitey’s attorney, Hank Brennan, recently shot down Black Mass, saying that “the real menace to Boston during that time and in other mob cases around the country—the federal government’s complicity in each and every one of those murders with the top echelon informant program.”
Well, [Jay Carney, Bulger's other attorney] is a buffoon. I mean, really. He was supposed to defend Jim Bulger, and when he stood up and gave his opening remarks, he basically admitted to every charge. What, he’s spoken to Jim Bulger for a hundred hours, and that’s supposed to make him something? Now, he speaks about Jim like he’s his best friend. He doesn’t know a thing about the real Jim Bulger, what’s happened, or anything. He’s literally a buffoon.
But it was the federal government that enabled us to get as far as we did. Without their interference, we would’ve been a short-lived gang. In some cases, we knew about investigations before they’d even been approved, or received financing. And it wasn’t just Connolly and the FBI. There was a bug in the Lancaster Street Garage that was given to us by a state trooper. The state police keep trying to pin it all on the FBI, but they were tipping us off, too. Whitey had his hands in everything. He had FBI. He had the Boston Police. He had Quincy Police. He had one guy in the DEA who was saying stuff to Connolly. He had people all over law enforcement that were giving information to him. With the movie, there’s no accuracy at all. The premise of corruption with the FBI is right, but as far as the events, the people, and the personalities? You could’ve told the truth and the movie would’ve been more violent than it is but they fabricated events. The movie is pure fiction.
