Ladybird Ladybird Page #2

Synopsis: This Ken Loach docu-drama relates the story of a British woman's fight with Social Services over the care of her children. Maggie has a history of bouncing from one abusive relationship to another. She has four children, of four different fathers, who came to the attention of Social Services when they were injured in a fire. Subsequently, Maggie was found to be an "unfit mother" and her children were removed from her care. She finally meets the man of her dreams, a Paraguayan expatriate, and they start a family together. Unfortunately, Social Services seems unwilling to accept that her life has changed and rends them from their new children. She and Jorge together, and separately, fight Social Services, Immigration, and other government bureaucrats in a desperate battle to make their family whole again.
Genre: Drama
Director(s): Ken Loach
Production: Hallmark Entertainment
  6 wins & 3 nominations.
 
IMDB:
7.5
Rotten Tomatoes:
71%
R
Year:
1994
101 min
634 Views


and chat me up.

I used to be dead flattered,

but I'd pretend I wasn't.

Mickey, don't hang on to the trolley.

Get some jelly for us, eh?

Just round there.

Can you rea...?

Here you go.

- Go on.

- What one do you want?

- Is that the one you want? What is it?

- Orange.

That's my favourite.

- One of yours?

- Yeah.

Where'd you get to last night?

- What do you mean?

- I was gonna buy you a drink.

Who's the man of the house then?

Sean here. He's the man of my house,

aren't you, love?

Well, I'm pleased to meet you, Sean.

'You'd have liked the kids.

'Mary, the baby,

she's always laughing.

'Very charming. Then there's Serena.

'She's dead temperamental.

'You've only got to look at her

the wrong way and she cries.

'And then there's Mickey.

He was dead funny.

'Brilliant sense of humour.

'I once asked him what he wanted to be

and he said, "I want to be everything."

'That's brilliant - someone who's got

nothing wants to be everything -'

imagine what's going on in his brain.

He was always last,

always toddled behind.

And then there was Sean.

He was the eldest.

He was like a little crutch to us.

He kept me going.

Sean, will you get the baby

out of the pram while I...

Hi, love!

Put these things away.

Simon, do you want a cup of tea?

Simon?

The cups are in 'ere.

Did you get left behind?

Are you having

a laugh or what?

What?

- What's the matter?

- Where the f***in' hell have you been?

- Two hours I've been waitin' here.

- I know...

- Am I some sort of c*nt?

- No, I'm sorry about being late, but...

Two f***in' hours.

Two hours I've sat here waiting for you.

I'm sorry, I was at the shops...

- I don't know how I f***ing stand it.

- I've got that...

- Shut up.

- The tea...

- Shut up. Shut up.

- I'll make...

- You c*nt. You c*nt!

- Uh!

You're f***ing driving me mad!

Two f***in' hours!

I mean, two f***in' hours!

- Simon, don't!

- C*nt!

F***ing Irish slag. F***in' two hours.

Two f***in' hours.

Two hours! Two hours! Two f***ing hours!

Every f***ing time!

C*nt!

Two f***in' hours!

Two f***in' hours you've been!

Two f***ing... f***ing cunting hours...

I've waited for you to get back!

F*** ya! F*** you, f*** the kids!

I was in hospital about two or three days,

and then I came back,

and that's when they started

interfering more then.

They started coming round

making stupid accusations

like if he'd hit me like that

what's he done to the kids?

I mean, for all that he was,

he never ever touched the kids.

You've got to give him that.

The stupidest thing is...

I loved him.

I couldn't help it. I did love him.

So if I loved him,

what did that make me, eh?

Do you want to go and play

out with... the kids?

No?

Sean, this is it.

We're in. Come on, Serena.

Mickey, come on, hurry up.

It's the one

right in front of you, Sean.

- Just up there, yeah?

- This is new, isn't it?

- Yeah.

- Yeah.

It's not bad, is it?

When they said a women's refuge,

I thought it was gonna be terrible.

- Well, you've got a bed each.

- It's not too bad, is it?

Oh, let's get this in.

I can too!

Hey, hey, hey,

come on, stop fighting.

You sleep there, Sean,

you go and sleep over there, Mickey.

Do you want to sleep there then, Serena?

My bed's much bouncier than yours.

And anyway, you've got an extra job to do -

shut the curtains.

The roof leaks in here though.

Mind you, where I lived,

the walls leaked in the flat.

And compared to the flat,

this is like a bloody palace.

You'll have to watch yourself

with the lights and all, the wiring's dodgy.

And... Oi!

- What are you doing?

- Has Gary been in 'ere?

No, he ain't. Out! I've told you about

barging into people's rooms!

- Gary!

- You'll have to watch your kids in here.

There's some right little sods around.

Mind you, kids are kids, aren't they?

Social services was asking after you

this morning.

They thought you'd be here this morning.

I don't want nothing to do with them.

They've done absolutely nothing for me.

I don't think we need them anymore,

do you, son?

They've done nothin' for us whatsoever.

George, I shouldn't be here.

I really shouldn't be here. I'll have to go.

What is it? You're up and down,

up and down like... like a flea.

Sit down, it's OK, tell you.

Look, whatever you're after, you're not

f***ing getting it off me, all right?

I just want to know you.

Right, I'm the Queen Mother.

Thanks for the coffee. I'll see you around.

Goodbye.

Stop it, stop it.

Stop.

It just opens like this.

Just leave me alone.

Just leave me alone.

I think you have too much pain.

I've seen it before.

Oh, yeah? Is that

how you get your kicks, is it?

There's a job at the Samaritans.

Why don't you go after it?

It just goes round and round and round

every f***ing day in my head

and it won't leave. It won't stop!

Don't do that. Don't do that.

You won't help yourself.

They're my kids!

Why won't they give me my kids back?

They're not that woman's kids,

they're mine!

I only left them once - just once!

And they've taken them away! My kids...

I love my kids.

Whoo! Thank you!

Maggie! Maggie!

Maggie, hey!

Geezer on the phone!

Trouble at home, love!

- Who was it?

- I don't know. You'd better get there quick!

Stop! Stop!

Stop!

Stop!

- Sean!

- Maggie! It's all right!

- Oh, what have I done?

- They're safe. They're safe.

Who is she?

You're the mother?

OK, come with me.

I'm gonna take you to the hospital.

They're not in there.

They're not in there.

I'll take you to the hospital

to see your children.

Are you all right? Maggie?

- Yeah, yeah. Are we nearly there now?

- Don't worry, love.

- Can I help you?

- Please... I need to see my children.

- What's the name?

- Conlan.

OK, just hang on a minute.

Sister? Sister.

- You've gotta help me to find them...

- We'll let you see them.

They're fine, they're fine.

What's happened to them?

What's happened?

They're going to be all right.

Oh, no! Oh, no!

Oh, my God, what's happened to him?

- Oh, what's he...

- He's fine, he's fine.

So, you left the children

alone in the room.

- Hang on, hang on, hang on.

- You locked the door...

and gave the key to Sarah

who lives in the house.

No, no, I did not give the key to Sarah.

I gave the key to Jill.

Jill! With a J.

Not Sarah.

Jill doesn't recall you giving her the key.

God...

Do you not f***ing listen!

I gave the key to Jill. Oh!

I gave the key to Jill!

Not Sarah!

OK, Maggie, come

and sit down. You've had an awful shock.

I know I shouldn't have left the kids alone!

I've never done it before!

I gave the key to Jill.

- Why did you lock the door?

- Because I wasn't locking the kids in,

I was locking the other kids out.

That's when I started to lose 'em.

He left the hospital

and he's gone to the foster mother,

and each time I'm just losing them

more and more.

And it's not gonna be like it was before.

Oh, hello, Maggie.

Nearly given up on you. Come in.

I've got three other kids to look after,

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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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