Original subtitles

- [Dion Voiceover] San Francisco, 1851.

A city with many problems.

One problem, shocking and growing worse.

Gangs of homeless boys roaming the streets,

stealing by day, looting by night.

Boys, abandoned by parents on the way to the gold fields.

Boys, apprenticed to the Regulators,

feeding on crime and growing on violence.

Boys, beginning to frighten a city where crime and violence

were almost taken for granted.

I knew the problem.

As a reporter on the Star, I'd written stories about it,

but they were stories about what had happened to others.

(suspenseful orchestra music)

♪ California, California ♪

- [Announcer] The Californians.

♪ California ♪

♪ I've come to live where life is best ♪

♪ In the golden west ♪

♪ I'm going to strike, get rich in California ♪

♪ California ♪

- Hello, Martha.

Where's the McGivern?

Where's that man of yours?

- Dan, please.

- What's the matter?

- Here's the McGivern.

That's a fine story you've written in your newspaper, Dion.

- Well it's a good story I guess.

- I wonder if you wouldn't mind telling me,

who in the name of all devils that haunt the flaming Hobbs

of Gehenna gave you leave to mention

the Vigilance committee in your free and easy style?

Well answer me!

- I assumed it was a matter for the committee.

- You assumed.

Who gave you the right to assume anything?

- I'm a member of the committee.

- Well you won't be for long if you persist in using

the Vigilantes to set your own private quarrel.

- It's not a private quarrel.

- Oh and what else is it?

- Your pay envelope is stolen

and immediately the people of this city

are treated to a call for Vigilante action

in chasing down a bunch of children.

- It's not just my pay envelope, why everybody-

- And what did you expect the Vigilantes to do

if they succeeded in apprehending these desperate urchins,

hang them?

- I don't expect the Vigilantes

to do anything to these kids.

- Oh.

- It's the men behind the kids, Jack, the Regulators

who harbor children and teach 'em how to steal.

- So now it's the Regulators is it?

I see.

Well can you prove any of this that you say?

- No, not yet.

- Well then stop publishing edicts in my name or the name

of the committee until you get that kind of proof.

- Is that your final word?

- [Jack] That's my final word.

- Then I'll get you all the proof you need myself.

- Alone?

Dion that's dangerous.

- Not alone Martha, Fred Engle's going with me.

He's been tracking those kids for some time.

- And just where do you propose to start

on this crusade of yours might one ask?

- With the boy who robbed me.

(pensive orchestra music)

- There's a right way and a wrong way to do a thing.

Like down at the wharf.

That went wrong and we don't like things that go wrong.

The trouble was here, nobody watching.

- You seen the paper?

- I told you never to interrupt a lesson.

Now it ain't to hard to steal off the wharf,

just remember what you've been taught.

You, look up and pay attention.

The wharf is here, Alsatia Street here.

Now when I tell a boy to stay on Alstatia Street

that's just what I mean.

- Practicing.

- You got caught.

When someone gets caught that's no reason to laugh.

Now it's time to get to work.

Just remember what I said.

All right, clear out of here.

Warning to Regulators, break up your child gangs.

Vigilantes will act.

That's nothing to worry about.

- Yeah? Read what's next.

- Yesterday in broad daylight as this reporter

emerged from a bank on Commercial Street.

- Mmm hmm, it had to be a reporter and a Vigilante.

Dion Patrick.

- So? So the kid made a mistake.

- You made the mistake, Loomis.

That's what I've been sent here to tell ya.

You're makin' too many mistakes, bad ones.

- But the kid-

- You're responsible for the kids.

I was also told to tell ya if you can't handle your job

and stop makin' mistakes we'll have to get someone else.

(tense orchestra music)

- [Dion Voiceover] Hunting for the boy that day,

Fred and I hit places one man didn't dare to go alone.

Narrow, dirty alleys littered with trash.

Forgotten corners for forgotten kids.

Human rubbish the city had tossed away.

When we found 'em we asked and we got no answers.

Billy Kilgore, they'd never heard of him.

How do ya make kids like this open up?

Tough kids, trained to lie and deceive.

Hardened criminals still too young to shave.

Every turn we took led us up a blind trail.

We almost gave up hope, then we saw him.

- That him?

- That's him.

Wait.

- Ma?

I got ya a present.

- Didn't I tell ya not to hang around here?

(laughing)

(somber orchestra music)

(dramatic orchestra music)

- Well where'd you learn to handle a knife like that?

- You just stay back, mister.

Say your piece and get out.

- I ah, came to get the money you stole from me.

- Did ya lose it or something?

- You're as big a liar as you are a thief.

Must be a pig too, from the looks of this sty.

- Nobody asked you in here, now get out.

- Who you workin' for, son?

- That's none of your business.

- Look, here's what I'm offerin' you,

an honest job workin' in Jack McGivern's store.

Decent place to live, clean clothes, good food,

a chance to be human.

It's your last chance to grow up clean,

if you live to grow up.

- Go jump in the bay.

- That's where you'll end up,

floatin' in the bay, face down.

That's what happens to boys who make mistakes.

They fished three of 'em outta the bay already this month.

The men you're dealin' with don't like mistakes.

- I don't make mistakes.

- Somebody did.

What's the matter with your mother, lettin' a boy like you-

- Get out!

- You're headin' for trouble, son.

Unless you get yourself straightened out.

(pensive orchestra music)

Nothin' here, let's keep lookin'.

- What else did he say?

- He told me about a job.

- Job, what job?

- Well, one in McGivern's store.

- Jack McCivern?

- You're gonna take that job, boy.

- I told him no.

- You're gonna have to un-tell him.

- He's not gonna believe me.

- Oh, he's gonna believe you all right,

'cause you're gonna bring him a present.

Understand?

- Well have you made up your mind to talk?

- No.

I brought back your money.

$2 missing, I bought some things.

- How'd you dare hold out on your boss?

- Don't ask questions.

I brought it back and that's all.

- Why?

- You know what you were talkin' about, the job

and the place to live?

Well I just thought if I brought this back, you might ah.

- Then you are ready to talk, huh?

- I can't talk, they'll kill me.

They'll drop me in the bay like they just did Tommy.

- Tommy?

- A friend of mine.

I did some thinkin' about what you said.

You were right. All I need's a chance.

- You gotta earn your chance.

- I can't talk.

Maybe after things are a little better

and I know more of where I stand I might be able to

tell you what you wanna know.

Not now. I'm too scared.

- What's your name?

- Billy Kilgore.

- All right, Billy, let's go meet your new boss.

- He's a nice enough boy, I suppose, but takin' the lad

in off the streets like that is always a bit risky.

- Why not give him a chance, Jack?

- It'd be nice to have a boy around the house.

- Who is he to you?

Exactly what do you know about him?

- We know he's half starved.

- Well I'd hardly call that a recommendation, Martha.

- Nonsense, Jack, he's a darling boy.

You wait and see when he's all cleaned up.

That shirt was the smallest size we had.

Do you think he'll mind if it doesn't fit too well?

- Not if it's brand new.

- I think I got somethin', Dion.

- What's that?

- Saw a youngster grab some stuff in front of a store.

I followed him down to Pine and Montgomery.

He sneaked into a warehouse.

I seen other street kids goin' in there.

I've had it watched before.

- That could be the place.

- Don't be a fool, Dion, not just the two of you alone.

- Don't try to stop us, Jack.

It's the first break we've had.

Maybe those thugs are holed up in that warehouse.

If they are we'll get some help and flush 'em out.

(suspenseful orchestra music)

- The kids I saw went in that way.

(suspenseful orchestra music)

Look out!

(gun firing)

(dramatic orchestra music)

- Fred, Fred.

Fred.

Where's Billy?

- Dion, what happened?

- Where's that boy?

- He's in your room, why?

- He's gone.

- It's my own fault. I shoulda known he'd tell 'em.

- What're you talkin' about?

Tell who?

- The Regulators were waitin' for us.

Fred Engle's dead.

Well I'm sorry I didn't listen to you, Jack.

I shoulda told you about the boy.

- What should you have told me?

That he was the one that stole your money?

- How did you know that?

- Had it with you when you brought him in.

I can't imagine what possessed you to trust him.

- Well I made a mistake. I like kids.

- What ever possessed you to let him stay?

- Listen to who's talking.

Who was it that said, oh he's such a darling little lad?

Well Dion, I guess the Vigilantes can handle it now.

We'll have to pick up the boy, you know.

- I want more than the boy.

I want the men he's workin' for.

- It'll be no good without proof

and you know very well that Billy won't talk.

- He'll talk all right, I'll see to that.

(pensive orchestra music)

- Oh, hello Mr. Patrick.

What will it be?

- Nothin' but conversation, Duggan.

- I'm not much of a man for talking, Mr. Patrick.

There's only one rule for my job,

keep your whiskey bottles open and your mouth shut.

- Where's Billy Kilgore's mother?

Now get this, either you talk to me

or you talk to the Vigilantes.

Two men were shanghaied from here last week.

A man was murdered in here the week before.

This is a Regulators hangout and we know it.

Now you talk.

- Upstairs, Laurie Murdock.

(knocking on door)

- Yeah.

- [Dion] Laurie Murdock?

- What do you want?

- [Dion] I'm a reporter, I wanna talk to you.

- Aww, go on, beat it.

(doorknob rattling)

- [Dion] If you don't open this door.

- Oh.

You want me to scream for my friends?

- Go ahead, I'd like to meet 'em.

- Who're you?

- Dion Patrick.

Does that sound familiar?

- Go on, say your piece and beat it.

Go on, say it.

- Where's your kid?

- Who're you talkin' about?

- Billy Kilgore. Where is he?

- I don't know any kid.

- You're his mother, don't lie to me.

Where is he?

- Whaddya want him for?

- He helped get a good man killed last night and I want him.

- Get outta here.

I don't know any Billy Kilgore.

He ain't my kid.

I never had a kid.

And even if I did I wouldn't tell you nothin'.

You understand? Nothin'.

- This boy could pin a murder conviction

on the men who killed Fred Engle.

How long do you think they'll let a witness like Billy live?

- I tell ya, it don't mean nothin' to me.

- They'll dump him in the bay

with an anvil tied to his feet.

Think it over, Laurie.

You might do this boy a big favor

if you help me find him before the Regulators do.

- Get outta here.

(dramatic orchestra music)

- That him?

- Yeah, that's him.

Come in after I've gone and tell him I'm sorry.

Tell him I didn't know that man was gonna be killed.

Will ya tell him? - Sure. Whatcha gonna do?

- I don't know. Slip out to Arizona I guess.

- You'll run away?

Aww, Loomis ain't gonna like it much.

- Loomis can nub it.

- How you gonna do it? You got any money?

- Yeah, enough to get on the stagecoach.

- Loomis finds out, he'll grab you right off.

- I'm not leavin' till dark.

Will you tell him?

- I'll tell him.

- Thanks.

(pensive orchestra music)

- Laurie still upstairs?

- She's upstairs.

- You be sure she sees this.

- She'll see it.

- I'll be over at Jack McGivern's.

- What's the matter with you anyway?

Have you taken complete leave of your senses?

Don't you know what you've done?

You've signed that boy's death warrant.

One look at that and they'll murder him.

- You think so? - I know so.

- Martha, you think so? - I think so, Dion.

- Well then his mother oughta think so too.

- What do you mean, his mother?

- Her name is Laurie Murdock.

She works in the saloon where the Regulators hang out.

- Are you sure she's the boy's mother?

- Well she won't admit anything.

She's tough and she's hard but if anything will crack

that hardness, that headline oughta do it.

- You're taking a dreadful gamble with a boy's life, Dion.

- I want the men who killed Fred Engle.

- Why'd you do this, mister?

- I told you I'm lookin' for killers.

- They'll kill the kid.

- What do you care, what's it mean to you?

- Let me alone.

All right, he's my kid.

You're killin' him, you and your newspaper,

you're killin' my kid.

- Nothing will happen to the boy if we find him

before the Regulators do.

Now are you ready to talk?

- Whaddya wanna know?

- Who's backin' these kids? Who's makin' 'em steal?

- You wanna get me killed too?

- Take your choice.

You talk now or you bury your boy.

- If you help us, I promise you that

the Vigilantes Committee will protect you.

- Who's Billy's boss, Laurie?

- Loomis, Martin Loomis.

- All right, where can we find him?

- In a warehouse, Pine and Montgomery, in the cellar.

- You knew Billy was workin' for him?

- Yes. - You knew what he was doing?

- Will you testify against him?

Will you swear to this in court?

- Yes, but help him.

- All right.

- Sit down, Laurie.

Please sit down.

- You don't think much of me, do ya?

- I wasn't thinking anything.

- People like you got no time to waste

thinking about people like me.

Is that it?

- Stop feeling sorry for yourself.

- Who's sorry?

You couldn't begin to live like me.

- No, I suppose I couldn't.

But what about the boy?

- I did what I could for him.

Well I did.

Had him when I was 15.

His old man was no good, Bobby.

Married him to get away from Five Points.

That's in New York. - Yes, I know.

- What do you know about anything?

Well I got away from Five Points and this is what I got.

This.

- How did you get out here?

- My old man turned soldier.

When he was killed, the boys fixed me up

as a pretty waiter girl.

- And Billy?

- Well what could I do for the kid?

Miners comin' in wantin' drink and a good time.

- It was better to turn him over to Loomis I suppose?

- Sure it was. Loomis promised to take good care of the kid.

- By making a thief out of him?

- Oh what do you know about anything.

You ain't never had to tough it out.

- Didn't I?

I suppose you think it was easy crossing the plains,

losing everything we owned and starting over

with nothing but out bare hands to scratch out a living.

- Aww, take it easy, missus.

- I won't take it easy.

I've tried to be nice to you because I thought

you were a decent woman at heart.

Now I'm sick of listening to you whine

about how life has abused you.

- Now just a minute here.

- No, you're gonna listen to me, Laurie.

You talk about your hard luck.

At least you have a child.

I lost mine crossing the prairie.

And what did you do to your child?

You ruined him!

- Oh stop it!

(crying) Please stop.

Don't talk like that anymore, please.

(crying) I don't know what to do.

I love that kid, missus.

I don't, I don't know what to say to him.

What can I do?

(sobbing)

- You put your arms around him and you'll cry a little

with him and things will be all right.

- I'll try.

I'll try to be good for him.

I'll try to do us right, if only they'll bring him back.

- I know.

(bell ringing)

That's the Vigilante bell.

They'll bring him back.

(bell ringing)

- There's a reason for that bell.

What'd you tell 'em, boy?

- Nothin', Mr. Loomis, I didn't tell 'em nothin'.

- Why were you runnin' away?

- I wasn't runnin' away.

- One of you's lyin'.

I'm gonna get the truth, boy.

(exciting orchestra music)

(smacking) (clattering)

- Thanks Billy.

- Mr. Dion, I didn't know they were gonna kill your friend.

(somber orchestra music)

- Billy!

- Why'd you bring me here for?

- She's your mother, Billy.

- I ain't got a mother.

Never had one when I needed one.

Don't need nobody now.

So long, lady.

(somber orchestra music)

- You said that, that we'd cry a little.

He's my kid, missus, and I want him.

And I never knew before how much.

How could I get him back?

- That's something you'll have to figure out,

isn't it, Laurie?

- It was a big risk, gambling with the boy's life

like that, Dion.

- Well I guess I shoulda told you, Jack,

I knew Loomis would never see that paper.

- And how, might I ask, could you be so sure of that?

- Well, I made up a special headline and ran it on

just two copies of the regular edition,

one for us and one for Laurie.

- What?

And you let me go on worryin' like that?

Oh I've a good mind to.

Why didn't ya tell me?

- 'Cause I knew you'd say what you always say,

wouldn't work.

- You know, I.

♪ California ♪

♪ Oh I've traveled here, I've traveled there ♪

♪ I guess I've been most everywhere ♪

♪ But I like where I am today ♪

♪ And here is where I'll stay ♪

♪ Now one thing I just can't ignore ♪

♪ Is bein' broke and bein' poor ♪

♪ So I come west to take the cure ♪

♪ And here is where I'll stay ♪

♪ I've come to California ♪

♪ California ♪

♪ There's gold in them there hills in California ♪

♪ I've come to live where life is best ♪

♪ In the Golden West ♪

♪ I'm gonna strike it rich in California ♪

♪ California, California ♪

♪ There's gold in them there hills in California ♪

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