Oranges and Sunshine Page #6

Synopsis: Set in 1980s Nottingham, social worker Margaret Humphreys holds the British government accountable for child migration schemes and reunites the children involved -- now adults living mostly in Australia -- with their parents in Britain.
Genre: Drama, History
Director(s): Jim Loach
Production: Independent Pictures
  8 wins & 20 nominations.
 
IMDB:
7.1
Metacritic:
60
Rotten Tomatoes:
71%
R
Year:
2010
105 min
$2,017,976
Website
275 Views


'cause I'd been promised a penny

or a sweetie or something

and I didn't get it.

It would have been her, wouldn't it,

holding my hand?

What's that?

It's a cheque.

You can fill in what you like.

You can decide.

You can have that or you can have

my loyalty. I don't mind which.

As long as we're square.

All right, then.

Oh, you see that?

See that? She's in there.

- Len?

- Yeah?

You want me to go in with you?

No, no, no. You'll be right.

No, get yourself a cab back.

- Or there's a cafe up there that...

- Len, I'm going to be fine.

Thank you, Margaret.

Thank you.

You're very welcome, Len.

Right.

Here we go, then.

The boys' home at Bindoon

was closed some time ago.

I understand that.

The Christian Brothers

have been victimised...

- Come back to...

- We're considering legal action

to prevent journalists

trespassing on church property.

I heard you.

Don't think you can come to Perth

and tell any lies.

Excuse me?

Good brothers and sisters

ran decent homes for those children.

I do not tell lies.

You know how much you'll hurt

the holy fathers with your lies?

I do not tell lies ever.

It's Margaret Humphreys from

the Child Migrants Trust in Australia.

Yes, he'll know what it's regarding.

We've had extensive

correspondence on the subject.

Yes.

Well, I would like him to return my call.

Um... Yeah.

And if he doesn't, I will call you back

tomorrow. Thank you.

You b*tch! You f***in' evil whore!

F***in' open this window! Come on!

Come on!

I'm gonna rip you apart!

F***, you'll get it!

I can get in any time I like!

Ahh!

Get out! Get out!

Get out!

Arggh! B*tch!

I can get you any time I like,

you b*tch!

You tell lies about the Brothers

and you see what you get.

You f***ing whore!

I'll get you!

Get home.

No, I can't.

Call the police.

Get out of that house.

People are depending on me, Merv.

I've got a load of appointments.

I've got to go.

I'll call you back later.

I heard Bob went out to Bindoon

with a camera crew.

Yeah.

That'll stir things up a bit.

Theo said you didn't want to go along.

No, I didn't.

Yeah. Here, stop!

I'll wait for you here.

No, you don't need to wait for me.

I'll get a taxi.

I really should get a car.

You don't need a taxi,

you don't need a car. I'll wait for you.

Thank you.

Where are we? Where are we?

Where are we?

Ah, here we go.

Oops!

Um, it's right.

Right! The other right.

- Wanker!

- Yeah, sorry, mate.

- Want a bit of classical on?

- No.

You can turn that up though.

Take good care

Hope you have a lot

of nice things to wear

Ooh, baby, baby,

it's a wild world

It's hard to get by

just upon a smile

Oh, baby, baby,

it's a wild world

I'll always remember you

like a child, girl

Right? Have a good night.

Jack, what are you doing here?

Well, Merv rang

and asked me to come over.

He thought you might

need a bit of company.

What did he say?

He said you needed me here.

Sorry, Margaret.

Just bringing your tea.

Sorry.

- You got everything you need?

- Yeah.

I thought I might sleep out

on the veranda.

Don't much like sleeping under a roof.

All right. Whatever you want.

F*** you, b*tch!

Stay away from Bindoon!

You right in there, Margaret?

Yeah.

I...

I... I can't breathe.

I can't breathe. I can't breathe.

- Oh, really?

- Yeah.

It's my heart. It's my heart.

Calm down, darling.

...sit down and eat your cereal.

Rachel, come and get your breakfast.

Rachel!

Mum?

Tell them you have to stay here.

Tell them you belong to us.

Rachel.

Rachel.

No, my darling, it's just...

I'm taking you to the doctor.

- I don't need to go.

- I'm taking you.

Oh, for God's sake,

I can get myself to the doctor.

Look, I only came

because my husband insisted.

I just wanted to set his mind at rest.

I know there's nothing wrong with me.

I think you have

post-traumatic stress disorder.

I'm sorry but that is rubbish.

Nothing happened to me,

it all happened to them.

Absorbing other people's pain

is a stress of its own.

I can't stop.

There's no-one else.

If I...

And she hasn't stopped.

Oh, Margaret. Lovely to see you.

Hello.

Margaret, hi.

Hope you don't mind

us dropping in on you.

I was just telling them, Margaret,

we had such a good day.

I really wanted to invite you

but we know you're so busy.

And they never knew I had a daughter.

She was really keen for me

to come over for the retirement party

but we didn't know

what we were going to tell people.

- Then Bill says...

- Bill's one of the regulars.

'Who's this lovely young lady, Vera?'

He's ancient, see, so...

And I said,

'This is my daughter, Bill.

My daughter Charlotte.'

- And he says...

- Never even blinked.

...'She looks just like you.'

- He could tell.

- Anyone could tell.

And there we were in front

of them all, together.

Mother and daughter.

- I tell you, Margaret...

- It was the happiest moment...

- Of my life.

- Both of us.

We just... We just felt... whole.

At last.

Nothing missing.

I said,

'We have to come and tell Margaret.'

But we didn't even know

if you'd be here, you're so busy.

So when are you back off to Australia?

Well, as soon as this lot can spare me.

There's a chilled chardonnay

on the table there for you.

Margaret River.

Bit young but hitting its stride, I reckon.

I didn't come here to drink, Len.

I thought you wanted to talk.

I do. I've got some soup too.

It's home-cooked.

I can cook, you know.

I'm sure you can.

- You look hungry enough.

- I've already eaten.

What was it you wanted to say?

You're a difficult woman to entertain,

Mrs Humphreys.

All right.

Look, um, all this TV coverage,

it's stirred everything up, Margaret.

It's got the boys talking.

And, um, I've been watching

how the boys are around you,

and, uh, not speaking out of turn,

you know what I'm talking about.

You're like a sister to them.

You're family after

everything you've done.

You know? Only family

most of us will ever have anyway.

I'm not sure that family

is really the right word.

Well, that's how we feel.

No, but you're right, it's...

it's not real.

'Cause you haven't been there,

have you?

You've heard about our childhood

but you haven't touched our childhood.

'Cause you haven't been there.

Where?

To Bindoon.

I'm, uh... I'm asking you

to come to Bindoon with me.

No.

Well, have a think about it, Margaret.

Look, Len, what you all suffered

at Bindoon, that's your history.

But it's not mine.

I have to be careful.

I...

I'm not, um... It wouldn't be appropriate

for me to get too close to all of that.

It's... Well, it wouldn't be right.

No, no, you'll be right.

I'll look after you.

No, Len, I don't want to.

I don't have to go there

and I don't want to.

OK, OK, but look at it

from the old boys' point of view.

That's like saying that

you can't look at who they are.

Is that what they're saying?

Well, you have a think about it, Margaret.

Maybe that's the monster

living in your head.

I don't like to think of you walking around

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Rona Munro

Rona Munro (born 7 September 1959) is a Scottish writer. She has written plays for theatre, radio, and television. Her film work includes Ken Loach's Ladybird, Ladybird (1994), Oranges and Sunshine (2010) for Jim Loach and Aimée & Jaguar (1999), co-authored by German director Max Färberböck. more…

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Submitted on August 05, 2018

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