Ladybird Ladybird Page #3

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 I have to get two buses here.

I thought you were coming this afternoon.

Oh, Sean's coming on quite well now.

He's made friends with Kevin

down the road.

He's been in Kevin's house

a couple of times, playing.

And Kevin's been back down here.

They're getting on quite well.

- Oh, yeah? Where is Sean anyway?

- Oh, he's up in bed.

Bed? This time of night?

It's only half eight.

Look...

Have your cup of coffee, sit down,

get your breath back

and then you can go up see him.

- You don't mind if I smoke, do you?

- No, I'll get an ashtray.

Here you go.

Listen, there's something

I've been meaning to say,

it's been playing on my mind

for a couple of days now.

Sean's been mentioning

he wants to put sauce on his chips.

- What?

- You know, sauce? Tomato sauce.

I don't like them having that on their food.

It's hard enough for me as it is, Mary,

to try and put a meal together

on not a lot of money

I don't want it spoilt with all that.

It's full of additives and crap.

I don't want him having that.

Besides, if he starts getting used to it, the

other three will want it, and it's not fair.

OK, fine.

Anyway, how's his skin getting on?

Them burns healing?

- He's coming on nicely.

- You put the ointment on?

- Of course, yeah.

- Put it on yet? Tonight?

No, I was gonna go up in a minute, but...

- I do it before he goes to sleep normally.

- Well, I might as well do it.

Yeah, that's OK with me.

But have your coffee first.

There's no rush, is there?

No rush? No rush?

I mean, Mary, no disrespect to you,

but I haven't come here

to drink your f***ing coffee.

I've come here to see my son.

Just... just calm down a bit first, Maggie.

Calm down? How can I calm down?

And what's all this crap on the wall here?

I mean, calm down? He's my son.

And what's all this? Fires?

It'd be better if you didn't upset him.

Upset him? What's this doing?

Look where Sean is, Mary.

He's stuck right in the middle.

And where am I? Right on the outside!

- I know what you're feeling...

- You don't!

- I do! I'm a mother, too.

- But you're not my f***ing son's mother!

And let me tell you something else, I know

your little games, all your little twists.

Block mummy out. Well,

it won't f***ing work cos he's my son!

You're not keeping him!

He's not yours. He's my son.

Cos I know what your little games are like.

I'm his mother.

I'm not here to drink f***ing coffee

with you, I'm here to see him.

If you haven't put the ointment on,

I might as well do it while I'm here

cos I'm not sitting here with you.

Hello, son. How you doing, eh?

Ooh, I've missed you.

How are you? Eh?

Oh, God.

- How's Mickey?

- He's great.

Let's see how you are though.

Let's see.

- Oh...

- Has he been borrowing my roller skates?

He has, he has.

Tonight, as a special treat, I'm gonna...

I'm gonna learn to do this.

You'd rather have your mum changing it

than Mary, wouldn't you?

Keep still, keep still, keep still.

I know it's sore, I know it's sore, but...

- Ow!

- I'm sorry if I'm hurting you, but let me do it.

- Come on, let me do it.

- Ah!

Sh*t. I'm sorry.

I'm sorry, Sean.

I'm sorry, I'm sorry.

Oh, what are they doing to us?

What are they doing to us, Sean?

Here. Please.

Oh, don't.

I thought we'd explained this to you.

You can only get Sean home

under certain conditions.

Now, under the circumstances you're lucky

we haven't started care proceedings.

I'm not going into no detention centre.

OK? I'm not going.

Maggie, it's not a detention centre.

It's what we call a family centre.

It's to help you rehabilitate and cope.

We're not trying

to punish you or anything.

We'd be able to help you there.

We just want to assess

how you're getting on.

I'm not going.

I'm not going to the detention centre.

If you want to help me, get me a flat,

not stick me in a doss house.

We just want to assess how you're

getting on, make sure you're coping.

I'll cope much better if my son's home.

Last week he didn't even

want to come to me

because you're trying to turn him against me.

I know what your little games are.

The thing is, Maggie, Sean nearly died.

I know Sean nearly died.

How do you think that makes me feel?

So, rub it in, eh? Let's all rub it in!

Maggie... Maggie, listen to me, please.

Your children are on the at risk register.

We need some reassurance

that you're working with us on this.

They're only on there

because of youse!

Why don't you just leave me alone

and give me my son back?

But no, you can't do that, can you?

No, we can't do that,

because it's our statutory duty

to provide safe accommodation

for you and your kids.

And your kids' best interest

is what we are concerned with.

My kids' best interest

is to have their brother back.

My best interest is to have my son back!

My son's best interest

is to be home with us,

not with someone

playing f***ing happy families!

Maggie, please listen,

we want you to have Sean back

but unfortunately, the law says

that we have to send you to this place.

Now, if you don't go

and you don't cooperate,

then we will have to take

all your children into care.

Just a couple of rules

you should know about -

there's no alcohol on the premises

and no visitors in the rooms.

We lock the door at night for security.

Listen, have you got any baby milk?

I never had a chance to get any.

Oh, no, we haven't got any formula at all.

We haven't had any little ones

for a long time.

I've f***ing had enough!

Maggie, I'm sorry,

I've got to sort this out.

I don't care,

just bring him in here!

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

Get in here now!

- Now! Come on.

- Come on, kids.

We're not putting up with this.

Come on, come on.

Come on, love. Come on.

I don't see why I don't just take you

back to the refuge.

Jesus, Mairead, I've done a runner.

If I go back, the refuge is the first place

they're gonna look for me.

You can't stay at ours, can you?

You two don't get on, you know that.

I just can't take no more.

I really can't take no more.

You just don't know what it's like for me.

Where am I gonna go with the kids?

I can't sleep in the street.

Hold the door, Mickey.

Come on.

Keep up, Mickey.

Shh.

Go on. Leave the bags, go in.

Leave the bags.

Give us a kiss.

Hello, boy.

- Hello, Mags.

- Hello.

- Are you back?

- Yeah.

Hello, Mary. Hello, darling.

Hello, precious.

I missed you. Come here.

Mickey, come on,

you must keep up. Quickly.

Mum, these bags are heavy!

Have we got everything?

Have we got the baby's bottles, the coats?

We shouldn't have slept in.

- Maggie!

- Oh! Mickey! Run!

Get away from him! Get away!

- Maggie... Maggie...

- F*** off! Get him in the van!

- Don't be a fool, Maggie!

- Whoa! Whoa!

- Maggie!

- No, no, no, calm down.

- We're only going shopping.

- Maggie!

Lock the door.

We're only going shopping.

If you go now, you'll lose the kids forever!

I'm trying to help you, Maggie!

- Go!

- You'll lose the children forever!

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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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