No piece of technical incompetence has ever undercut a television episode like the bit at the end of Baby, because otherwise it is an absolute corker. Baby is the episode that people mention when they talk about this series, and it is completely understandable.
Jane Wymark is Jo Gilkes, a very pregnant woman moving to a renovated cottage somehow devoid of birds in the gutter or pests in pasture. As soon as she gets there, her annoying cat escapes. (Another technical gem from the sound department.) Jo tends towards the hysterical, and her husband Peter has compensated by almost utterly ignoring her, a problem that everyone is this episode has. Jo is surrounded by people but isolated when she actually needs help.
Peter is impulsive and begins to work on a wall in the house when he discovers a large clay urn there. Inside is a creature that he can’t identify, in fact no one can. Despite his wife’s protests, he holds onto it to show his boss.
Meanwhile odd things start to happen in the house, and there is an explicable darkness in the woods.
The cottage is older than it seems and the only information available comes from a superstitious old workman who indicates that creatures like what they have were used for bad magic of indeterminate nature.
It is around then that Jo realizes that the curse on the house and land applies to offspring…any offspring, and that no one can remember any animals being birthed in the barn, and no child in the cottage.
Baby descends into absolute discomfort at a certain point, and only lets up because right when the stunning ending is hurtling home, the prop department, makeup man, or local puppeteer puts together what appears to be a Muppet suckling a mangy lamb. It is sandwiched in between two shocking moments and the staff that undermined them deserved a lifelong Scarlet Letter.