Out for a twilight stroll in the meadow, Frank is drawn to a shadowy glade in which a strange young girl stands, uttering odd syllables. She seems to be beckoning him, but Frank, whilst unafraid, understands that to approach would be dangerous.
Behind the girl, the shadows seem to be coalescing into a human shape, the head of which is oddly bestial. His fear rising, Frank turns to walk away, slips, falls, and cuts the heel of his hand on a sharp rock. Now terrified, he springs to his feet and runs. Aware that the terrible bestial entity is closing in from behind, he screams in panic.
And wakes up, sweating, next to a terrified Susan. Sweet relief floods his body.
But his hand!
The heel of it is cut and bleeding.
In all probability, Simon Magus (pictured above) worked on this piece of music alone. It features the VCS3 synthesizer (pictured below), and Magus was notoriously possessive with the instrument.
It also sounds very much as though the piece was recorded at Advision Studios, utilizing a very narrow stereo spectrum. Legg favoured a wider stereo image, and if Donny “Boy” Whittleford (of whom more later) is to believed, the two men actually came to blows over the issue.
It was also at Advision Studios that Magus began to offer drugs to Simon Grundig, the film’s director. Grundig was a delicate man, of a weak constitution, and it is almost certain that Magus was responsible for his descent into opium addiction and sexual depravity. Of course, the degree to which Grundig was responsible for the finished film remains a point of fierce debate.
Tracey Katz contends that, very early in the process, Grundig turned the camera equipment over to the two main actors, and told them to “freak themselves out”. This, Katz claims, would make The GoatMan the first genuine example of the “found footage” movie.