Ladybird Ladybird Page #8

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
631 Views


I never hurt anybody.

I said, "This is wrong."

I'm not violent, I've never been violent.

I never will.

All right, Mr Arellano,

we'll move on from there.

Mr Arellano, are you married?

- What?

- Do you have a wife in Paraguay?

I... I don't know.

I... just don't know.

You don't know

if you have a wife?

Well, you see, it's been...

it's been a long time.

I left a long time ago.

So I don't know.

My Lord, I have no further questions

for this witness.

Mr Anderson,

do you wish to re-examine?

- No, thank you, My Lord.

- Thank you, Mr Arellano.

I'm just going out.

I need to walk, OK?

- Mr Arellano?

- Yeah.

- Mr Jorge Arellano?

- Yeah, yeah, that's me.

I'm serving you with a notice of intention

to initiate deportation proceedings

as an illegal overstayer in this country.

What does that mean?

Did I do something wrong?

When you came here,

you were told not to work

and you took a job at Southern Chicken.

I am asked to make

a very difficult decision.

I have great sympathy for the mother,

but I am bound to consider

the risks to the child.

I have heard evidence

in relation to the first four children

and this weighs very heavily with me.

The mother has not been able to provide

a stable environment for them.

The evidence suggests a woman

of low intellect and little self-control -

as has been borne out

in this court earlier.

She has had a number of partners.

She has put her children,

and now this baby, at risk of violence.

Her own violent temper, and her refusal

to avail herself of numerous efforts,

efforts and offers of help from the plaintiff

Social Services Department

suggests she is, in fact, beyond help.

She asserts that her life

has in any case changed dramatically

since she met Mr Arellano.

I see little evidence of change,

and given the defendant's history...

Maggie!

I can have no confidence

she will ever change.

Miss Moore-Davis...

I confirm the wardship. The minor

to remain in the care of the local authority.

No access to either defendant.

I give the local authority leave to place

the minor with long-term foster parents

with a view to adoption.

You bastard!

You f***ing bastard!

Bastard!

It's all your f***ing fault!

- Get off!

- Maggie, please...

I'll kill that Mrs Higgs!

I'll f***ing kill her!

Maggie?

Maggie?

Hey, Maggie, look.

- What's that then?

- My passport. They returned my passport.

I'm free to stay.

And the judge said,

"Mr Arellano is a man of good character,

"and he's not a threat to anyone."

So... here I am.

So you're stuck here then, are you?

Well, no.

I can stay, can leave.

I got my passport, I'm a free man.

So when you getting off?

Look, I'm telling you I can stay.

I mean, they will not deport me.

I mean, you should have

come with me, you know?

Maybe if you heard it with your own ears,

you would believe me.

What are you stuck here with me for

when you can go anywhere?

I mean, you must be f***ing mad if you want

to stay here, so you may as well go.

Cos there's nothing

keeping you here anymore.

Well, it's you, you know?

You are here, my daughter is here.

She's not here, George!

She's not here at all,

or haven't you noticed? She's gone.

So there's nothing keeping you here

so you might as well f*** off.

But this is my house, this is my home.

She's my daughter.

How could I leave?

I don't want you here, George.

I want you to go. I really want you to go.

Cos you've got every intention

of going anyway.

You'll go in the end,

so you might as well just go now

and f***ing make it

just as easy for both of us.

God... please, Maggie.

Just listen for once, OK?

You think I'm going to leave you?

You think that?

Look, I tell you -

I've told you over and over again!

Look, I'm here, I won't leave you.

Are you f***ing stupid?

Are you f***ing deaf?

I don't want you here! F*** off!

What, you want to hit something?

Just hit it.

Get the f*** out! Get out!

I want you to get out!

There's door is! Get out! And stay out!

F***ing stay out!

Get the f*** out!

F*** it!

- Are you all right?

- Yeah.

- Are you sure?

- Yeah.

- Is she OK?

- You OK?

- Yeah, I just feel a bit sick.

- You sure?

- Ah...

- What's up?

At least give me the bleedin' heavy ones.

- Oh, behave. What are you like?

- You're not fit for this baby.

I better be, there's nothing

I can do about it.

Do you honestly think

you can hide this one from 'em?

- I'm gonna keep it.

- Where? In the f***ing cupboard?

- Look, I'm keeping the baby.

- You're booked into the same hospital.

Of course I have. They've got to stick me

in the same hospital.

Don't you think

you've been through enough?

What were you thinking of,

going in for another one?

Look, Mairead, me and George

are gonna have a family,

if it takes the rest of our lives,

we're gonna have a family.

You've got your two kids,

we've got no one.

So me and George are gonna have ours

whether you like it or not.

Give us me bag, I'm going home.

Maggie!

Maggie!

No!

- Maggie, come on.

- No.

George, tell them, I'm not letting them

get this one, I'm taking it with me.

You must help them,

it will be more difficult.

- No!

- Maggie, please.

- No!

- Maggie, come on, please.

No!

- God, Maggie, help them, please.

- Come on, Maggie.

Maggie, come on now, relax.

Maggie, listen to me.

We've got to get the baby out.

It's staying where it is!

Get away from me!

- Come on, Maggie.

- No! No!

- It cannot stay in there.

- No, George! No!

It can't stay in there. Come on.

Maggie, the baby's head's coming.

- Keep yourself on the bed. Come on.

- No!

- No, no!

- Maggie, push now.

No.

- Come on, push! Good!

- Push!

That's it! Good!

Well done! Come on, push!

- That's excellent.

- Push! That's really good, Maggie.

- One last push, come on.

- One last push!

- And baby's out, well done.

- Excellent. Well done.

You've got a little girl.

Well done.

Hello, little one.

She looks like you.

- She looks just like you.

- She looks like Sean.

Oh... Oh!

Oh, look at her little...

You go bo-bo's, eh?

There's a good girl.

You go to sleep in there. That's it.

Oh, she's a good girl.

Maggie?

- Oh, George, I'm glad you're here.

- Are you all right?

I don't know why they've stuck us in here.

Have you been to see the solicitor?

Listen, the nurse

just stopped me and, er...

there's two people wanted to talk to me...

and, erm...

Well, I saw them and they said they

wanted to talk to us. To both of us.

Who?

Well, they want to talk to us.

- Who?

- They... they are from the Social... Services.

They just said they wanted to talk.

They didn't say anything else.

Just wanted to talk.

- After all that they've done to us?

- But I...

Hello, Maggie.

I'm just gonna

check the baby's temperature.

At least they want to talk to both of us,

it's not just you on your own.

We are together and we'll talk to them.

I mean they just said they...

Maggie Conlan, erm, I'm Kevin McNally

from Social Services.

- This is my colleague.

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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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