Ladybird Ladybird Page #4

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


Sh*t, Simon, watch the road!

She's gonna help us!

She couldn't do sh*t.

I don't know if I'm right, but ain't today

the day you get paid your money?

Yeah, why?

Well, we could go and pick it up,

that's all.

Simon, we can't stop now,

what about them after us?

We'll be at your sister's soon, anyway.

Mags, just go and get it now.

How can I get it now?

We'll be there before you know it.

Honest to God. Please, don't stop now.

- Maggie... now.

- Oh, don't, please. We've gotta go...

Get out.

What's the matter with you?

What is the matter with you?

You're starting again, ain't ya?

You're gonna f***ing start again.

I don't...

You're f***ing starting.

What is the matter with you?

Why do you...?

Why do you have to f***ing start?

You start every f***ing time!

You prat! Why do you f***ing start?

Why do you do it, eh? Why do you do it?

Why do you f***ing do it?

Go up the f***ing Post Office. Get up!

Get up the Post Office now, you prat!

Get up now! Get up there!

I never saw them again.

I went into town...

phoned the police,

told them that my ex had the kids,

I couldn't get them off him.

They came along and took them.

I never saw them again.

But, Maggie, you will get them back.

No.

I go to court next month though.

See? I told you,

you will get them back.

And now they're trying to say

me ex fella was interfering with the kids.

Well, that I wouldn't have let happen.

I'd have killed him first.

Listen, I'd better get off anyway.

Can you lend us a fiver for the taxi?

Listen...

I have a cake.

- You've got a what?

- I have a cake.

- A cake?

- Yeah.

What are you doing eating cake

this hour of the morning?

Well, we eat it.

Come on, don't say no to a cake.

- Come on.

- Cake!

- A cake.

- And a coffee.

- And a coffee. All right then.

- OK?

We used to have a... a piece of land,

not very big.

And, er, we had all this maize planted,

and pumpkin and other vegetables.

And who are all these?

Are they all your family?

Yeah, that's my uncles.

One died in bed, the other one

was hung somewhere in the farm.

Hung? What was he hung for?

Well, what happened is

that they owned the land

and it's a good land, but these...

other people, rich and powerful,

they... they want that land.

So what happened is that

in all these situation, they...

killed some of them.

There are some people in my country

that... would kill me, you know?

Kill you?

Yeah, you know,

I have, er, political problems.

I don't understand what that means.

It is dangerous to...

alleviate the suffering.

Because suffering has a job to do

for the government.

So you leave these things quiet

and you don't touch them.

But I did.

Then I look after children

whose parents had been killed.

- And then I wrote about it...

- Mmh.

...an article for a magazine,

and then more problem.

Is that why they wanna kill you now?

Well, yes.

And who's that?

Is that you up there?

Yeah, that's me.

- Who's that with you? Is that your sister?

- No, that's my wife.

- Your wife?

- Yeah.

F***ing tell me now you're married.

- Are you divorced?

- I don't know. Now, maybe...

It's been too long time.

Sometime...

Sometimes I find

I don't want to belong to my country.

Don't want to miss it.

I don't want to love it...

because I have no hope left.

But... you have to love something...

or you are empty.

But anyway... none of that is here.

It's you and I, and we know each other.

- We talk a lot tonight, didn't we?

- Yeah.

- We did.

- We can...

We can be close, you and I.

And understand each other and...

Don't you think so?

Yeah.

We can.

Anyway, I have to be going.

Do you wanna give us

that fiver for the taxi?

Because we can show that you've been

trying to get out of the refuge, haven't you?

- Yeah.

- And you have been living quietly.

Yeah.

- Maggie, there are no men in your life?

- No.

I said no.

Dr Marsden,

if you could just wait there, please.

My friend may have some questions.

Dr Marsden, yes, I've read

your supplementary report as well.

Are you not, in fact, saying in it

that my client is a good mother?

I don't think anyone could doubt

her love for her children,

but I would have to say I have serious doubts

about her ability to care for them.

Don't you think that's contradictory,

that statement?

No, I don't. No.

But you don't deny that she has an

obvious and deep love for her children?

Yes, but children need more than love.

They need support

and they need security.

And is there any evidence

to show that my client is deficient

in her ability to provide this support?

Mr Anderson, there's been an abundance

of such evidence brought before us today.

Yes, but Madam, my point is

that my client is not of herself

incapable of being a supportive parent

once she's removed from an inadequate

home and an abusive relationship.

Dr Marsden, can you be certain that

Maggie Conlan's deficiencies as a parent

aren't due to circumstances

entirely outside her control?

Her choice of partner is in her control.

I'm not with anyone now!

The children have been subjected

to scenes of violence and abuse

from an early age.

Ms Conlan seems likely to me to continue

her pattern of abusive relationships.

- I'm not with anyone else!

- I would like to remind you of the fire...

Maggie!

George...? George?

Maggie...

- You lied to me, Liz!

- I'm sorry.

I believed you. You said

I'd get the kids back and I never!

- You never know for sure.

- You lied! George!

George! They took all the kids

and they're not going to give them back!

- Maggie, what happened?

- They took all the kids!

Oh, Maggie. Oh, God.

Some tea and some Jaffa Cakes.

- No, thanks.

- You should eat.

You should eat.

It's only a month since you lost your kids.

And I know the pain is still there,

you cannot think straight...

but you have to eat.

Eat a little bit and drink a little bit.

In another month,

you will be a little bit better.

And in another month

you will be a little bit better.

And one day you will be able

to smile again.

And I'll be here.

Come, eat something.

You know, my visa expired this week.

No, I didn't know.

If I stay, I will be an illegal alien.

Well, don't let me hold you back.

If you don't want me here, just say so.

Just gi' us the taxi money and I'll go home.

You know what this?

This is a ticket from Heathrow to Madrid.

This is the bloody ticket

from Madrid to South America.

Come... Sit.

That's your ticket.

Look...

if you don't want me... I'm here.

If you want me, I'm here anyway.

I want to stay with you, so I'm staying.

If you don't want to see me, it's OK.

Fine. Just fine.

And I'll leave you alone.

But I'll still be here.

But why?

Because I love you.

Because I want to help you.

I can help you.

And because you are a reason to love.

And I need that. I need you.

Here...

Here's your fare for the taxi.

I don't want your money, George.

I never wanted your money.

Just for once I just wanted to be

the one who didn't lose.

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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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