On the surface, the Davis family is living the early 1970s California dream. Husband Frank (JOHN P. RYAN) is a chain-smoking, high-powered public relations executive, and his very pregnant wife Lenore (SHARON FARRELL) is ready to pop with their second child. Their middle class world is rocked when Lenore literally spawns a monster that savagely murders all of the doctors and nurses in the delivery room before escaping through a skylight. With the police out looking for their brutal baby, Frank and Lenore pawn their older son off on a family friend and try to pick up the pieces. He soon loses his job, and turns to the bottle for solace, while she becomes understandably withdrawn. Between swigs of scotch and puffs of his smoke, Frank declares that he just wants the baby dead and his life back to the way it was. The constant badgering by the doctors from the local university who want the baby’s remains for further study, and the lawyers from the pharmaceutical company that manufactured Lenore’s birth control pills (who want the mini-mutant destroyed) does much to compound the marital riff growing between the Davises. The baby does manage to elude the police long enough to make a pit stop at home to kill the family cat and family friend, and win over Frank before leading the cops to the underground labyrinth of L.A.’s storm drains for a chase scene that can only be described as sureal.
- The aftermath of the delivery room massacre
- The stream of blood-tinged milk running from the delivery truck after the baby offs an unsuspecting milkman
- Frank’s realization that his baby has come when he finds his normally full freezer of meat completely bare
- The baby’s final take down of the police chief amidst the hail of bullets in the sewer system