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Chapters (48)
  1. Cover
  2. Dedication
  3. Introduction
  4. Endland
  5. About Lisa
  6. Shame Of Shane
  7. Who would dream that truth was lies?
  8. Eve & Mary
  9. Chaikin/Twins
  10. James
  11. The Shell Garages History Of Mud
  12. Kelly
  13. Morton & Kermit
  14. Crash Family Robinson
  15. Wendy’s Daughter
  16. Void House
  17. Jonesey
  18. Killing Of Frank
  19. Arse on Earth
  20. The life, movies & short times of Natalie Gorgeous
  21. German Fokker
  22. Carmen by Bizet
  23. They get you most all gone when you always alone
  24. It is murky and opaque
  25. intentions seem good
  26. Cellar Story
  27. I thought I smelled something dirty
  28. Last of the First 11
  29. The Ant and The Grasshopper
  30. The Chapter
  31. Mission of Jobbin
  32. wanted to get a good look
  33. Taxi Driver
  34. Loose Promise
  35. The children of the rich
  36. The Waters Rising
  37. #Dibber
  38. Long Fainting/Try Saving Again
  39. BureauGrotesque
  40. Anger is Just Sadness Turned Inside Out
  41. Maxine
  42. For the Avoidance of Doubt
  43. now not moving
  44. A Note about Endland
  45. Acknowledgements
  46. Dear readers
  47. This book was made possible thanks to the support of:
  48. About the Author

People who’ve seen the facsimile working script of director Ludger Von Braun (now lodged at the British Library) say that it’s covered in blue-biro additions in the characteristic scrawl of Wilson. It’s in Wilson’s handwriting that the key lines for Marnie are written, in Wilson’s handwriting that the scene people call the ‘seventh circle of hell’ has been written, in Wilson’s handwriting that the sentence: no way out, no way out, no way out, no way out, no way out is written repeatedly as the closing lines of the film.

Of the few persons who worked on the film still alive, still fewer are working in film anymore. For most of them VOID HOUSE was the final station of their own particular cross.

Paunch Davies died about three weeks before the first screening – a death caused by the build up of wounds inflicted during the filming itself. Copies of the autopsy are on the Internet pretty well everywhere. Check it out. The doctor says there’s a limit to the amount of tissue a human body can regenerate – that Davies was well beyond acting, as well as well beyond reason in the final months of his life.

Von Braun never directed again and everyone knows what happened to Sven Horblad and Gruel Hampshire.

Take the stairs to the top of VOID HOUSE and take a look at the view. To the west you can see asphalt, the acres of scorched concrete, deserted houses, the teams clearing radioactive waste, a few remaining burned out cars. You can hear the birds singing, you can see the storm clouds gather and disperse. There are those that find it hard to reconcile the place and the story of it – the facts and the fiction – the layerings of each. They say a film can cause bad dreams for an aeon, pulling the rug from under steady feet, sending shivers down so very many spines. It can send a culture into fear. But in the end it is only celluloid, and so many column inches in so many industry rags. And when the fan club visits are over, when the photocalls and exorcisms are done, when the flowers on the little shrines are faded VOID HOUSE is just a building after all.

That’s what people say sometimes but it isn’t true.