Andrew Gingerich

Filmmaker/Educator

About

Andrew Gin­gerich is a film­mak­er whose work explores notions of fam­i­ly, dis­so­ci­at­ed iden­ti­ties, region­al alle­giances, and the bound­aries of fic­tion. He lives and teach­es in Michi­gan’s Upper Peninsula.

The Back of a Painting

FADE IN:

INT. MURIEL'S BEDROOM - NIGHT

A painting hangs from a twisted picture wire, facing the wall: canvas stretched over wood, with a few errant drops of paint. No identifying information.

We can't see much in the dark--NOAH and MURIEL murmur indistinctly in the shadows. They kiss, and murmur some more. Only the occasional phrase is discernible.

NOAH

Why is it--?

MURIEL

Because it's just for me. I turn it around like that whenever I have anyone over.

Rustling, in the dark. They are almost invisible.

MURIEL

It's my only possession.

NOAH

Oh? What about...?

Muriel laughs.

MURIEL

Just stuff.

NOAH

Just stuff.

MURIEL

Yeah. It's the only thing I have that--it was made only for me.

NOAH

Oh.

They kiss.

NOAH

Can I see it?

Muriel doesn't answer. They kiss again.

LATER

Noah sits on the edge of the bed and dresses perfunctorily.

Muriel is asleep in bed, facing away from him.

EXT. MURIEL'S APARTMENT

Noah stands by the closed door, finishing a cigarette. He looks up at the moon.

There's a distant sound swirling in the night sky.

He crushes the cigarette under his shoe, then turns to go back inside...

...but he's locked out.

He pulls out his phone and sends a quick text, then trudges off to his car.

INT. MURIEL'S BEDROOM

Muriel's phone buzzes once and lights up the room for a few seconds. She rolls over in bed.

INT. NOAH'S CAR

Noah drives in silence, his headlights punching two bright cones into the dense night.

Noah's phone rings over the car's speakers, and a number pops up on the car's infotainment screen: MURIEL. He answers.

NOAH

Hey. Sorry to ditch out on you, I didn't want to wake you up.

MURIEL (ON PHONE)

No, it's okay.

The lulls in the conversation are oppressively silent.

MURIEL (ON PHONE)

Listen... I just want to be honest with you.

NOAH

What do you mean?

Muriel sighs.

MURIEL (ON PHONE)

The sex. ... I mean, I wasn't having sex with you.

Noah laughs. Muriel laughs too, but she sounds strained. Guilty.

MURIEL (ON PHONE)

No. I wasn't! I was... I was fucking someone else. ... You were just the one who was there.

NOAH

...oh.

Traffic lights emerge from the dark and swoop past the car in dizzying rhythm.

MURIEL (ON PHONE)

...I had a really good time...

NOAH

Yeah. Me too.

INT. NOAH'S KITCHEN

RYAN sits at the kitchen table, sipping coffee.

The deadbolt flips open and Noah enters, nodding a silent greeting to Ryan.

RYAN

How was the date?

Noah tries to formulate an answer. Ryan reaches over to the counter and grabs an empty mug.

RYAN

I mean, it must've gone okay, what time is it?

NOAH

It was... I don't know. It was good, I guess.

Ryan pours Noah a cup of coffee and pushes it across the table toward Noah.

Noah hesitates for a moment, then takes the bait and sits down.

NOAH

How are you? I feel like we haven't talked in a really long time.

RYAN

Oh, poor. Tired. You know what?

NOAH

What?

RYAN

Now that I think about it, I'm actually really unhappy. About pretty much everything.

NOAH

Oh. Sorry.

RYAN

It's whatever. I think it's probably okay.

NOAH

You sure?

RYAN

I got a new phone.

LATER

Noah sits in the dark, still sipping his coffee. Ryan is nowhere to be seen.

Through the window across from him, something flickers in the dark distance. Heat lightning, maybe.

He finishes the coffee and gazes at the sediment in the bottom of the mug.

INT. THE CORNER - DAY

A nondescript neighborhood bar, of the type that proliferate in Milwaukee. Not a lot of business, mid-day. Noah stands at the far end of the bar, washing glasses.

Muriel enters and sits at the other end of the bar. She glances expectantly over at Noah, but he doesn't seem to notice her.

Eventually, she speaks up.

MURIEL

She doesn't love him.

Noah pours a drink and walks it down to her.

MURIEL

He's just with her because it's easy.

NOAH

I don't really want to hear about it.

She accepts the drink wordlessly.

INT. MURIEL'S BEDROOM - LATER

Noah is in bed with Muriel again.

He can't help but notice that she isn't looking at him. Her eyes drift up to the ceiling instead.

He tries not to think about it, but he can't help himself.

NOAH

What was his name?

MURIEL

What?

NOAH

His name. Tell me.

MURIEL

John...

NOAH

You can call me his name. If you want.

For the first time, her eyes meet his.

MURIEL

Oh... John...

MORNING

Noah opens his eyes. He squints, watching the world smear and blur, then opens them again.

MURIEL

Good morning...

NOAH

Hey...

Her face streaks into abstraction as Noah squints at her.

MURIEL

I'm just gonna move to a different state. Start over. Start fresh. It's like, too many bad memories in this place. You know?

Noah doesn't say anything.

MURIEL

Los Angeles.

NOAH

Is that where he is?

MURIEL

Since last summer.

The picture still faces the wall. Noah squints at it.

Muriel notices him.

MURIEL

It's still just for me.

NOAH

Okay.

MURIEL

It's only ever for me.

NOAH

Okay.

MURIEL

It's important.

INT. NOAH'S KITCHEN

NOAH

I kind of like it. Not just because the sex is better when she calls me John, but also because I like feeling how much she loves him.

RYAN

Sure, sure, I can see... that...

NOAH

Not like I am him exactly, not like she loves me exactly, but like I'm a part of it.

RYAN

And I guess you get to be someone else for a while, that's probably nice.

BLACK SCREEN

MURIEL (ON PHONE)

Hi, John!

Noah hesitates, then decides to play along.

NOAH (ON PHONE)

...hi!

MURIEL (ON PHONE)

Doing anything tonight?

NOAH (ON PHONE)

What's up?

INT. MURIEL'S BEDROOM - EVENING

Muriel digs through her closet while Noah tries on a shirt. It's a bit too small for him.

NOAH

The sleeves are a little short...

She emerges from the closet with a hoodie and takes an appraising look at him.

MURIEL

It's not bad.

She tosses him the hoodie.

MURIEL

Let's go!

INT. RESTAURANT

Noah and Muriel sit across from each other in a cozy restaurant, finishing their dinner.

They don't speak, but it's a companionable silence.

ANGIE is heading for the exit when she spots Muriel and changes course.

ANGIE

Muriel?

MURIEL

Oh my gosh, Angie!

They hug.

ANGIE

It's been so long! How are you?

MURIEL

You've met John, right?

Noah smiles.

ANGIE

Oh... is...?

MURIEL

What's wrong?

ANGIE

Didn't you used to date...?

MURIEL

No, no, this is him!

Angie's smile falters.

ANGIE

Oh...

MURIEL

What have you been up to?

NOAH (V.O.)

I never felt about anybody the way she feels about John. Maybe that's sad, I don't know. But at least I can help her by being John as much as I can.

RYAN (V.O.)

I put the rent check on the fridge.

INT. MURIEL'S BEDROOM - NIGHT

Muriel is fast asleep. Noah lies awake next to her.

He stares at the still-hidden painting.

NOAH (V.O.)

I guess I’d never been in love with anyone. Except maybe Muriel, now. But it wasn’t the usual kind of love. It was the kind of love that was on the back of a painting, not the front.

INT. MURIEL'S APARTMENT - DAY

Noah watches Muriel butcher a pineapple.

MURIEL

I'm gonna end that marriage.

She’s really going after it. She doesn’t seem to have much of a plan.

MURIEL

I can do it.

NOAH (V.O.)

It was tough because she was mad at John, but she was also mad at me, because I was John, and she was also mad at me because I wasn't John, not to the degree that she needed me to be.

NOAH

How can I help?

THE NEXT DAY

Muriel's apartment is practically empty. She shoves clothes into her suitcase. The painting--still facing backwards--still hangs on the wall.

Noah stands back and watches.

MURIEL

I told Leroy I'd have everything out by the end of the week. Can you just leave the key under the mat once you have the place cleared out?

NOAH

Yeah.

Muriel looks up at the otherwise-empty wall.

There's no way this painting will fit in her suitcase.

NOAH

I can send it to you, once you have an address...

Muriel shakes her head.

CUT TO:

LATER

Noah hangs back and watches as Muriel sloppily wraps the frame in birthday gift wrap, then throws the rest of the roll in the trash.

MURIEL

You can have it. Just promise.

NOAH

I promise.

INT. NOAH'S BEDROOM

Noah ties a rag around his head to form a makeshift blindfold. He looks around the room, checking to ensure that he can't see anything.

Now safely blindfolded, he pounds a nail into his wall. It goes surprisingly well, given his blindness.

He lays the painting face-down on the floor and removes the wrapping paper.

He lifts the painting up, presses it face-first against the wall, and hooks the picture wire over the nail.

He takes a careful step back, then unties his blindfold to inspect his handiwork.

He steps up to the painting, straightens it a touch, then steps back again to gaze at it.

NOAH (V.O.)

I guess some part of me doesn't want to know.

ANOTHER TIME

Noah sits across from the painting, a plate of food in his lap.

He eats while watching the painting, the way he might watch TV.

The door is half-open, but Ryan knocks anyway before poking his head in.

RYAN

I have something to show you.

NOAH

Hm?

RYAN

Come with me.

INT. RYAN'S CAR

Ryan drives through darkened city streets. Streetlights swoop down at them as they drive past.

Noah's window is down. He stares out into the dark, wind blowing into his face.

The radio is off. Neither of them speaks.

EXT. LAKE MICHIGAN - NIGHT

Ryan's car is parked in a deserted lot by the lake.

Noah and Ryan sit side by side on the trunk, staring out at the dim horizon, listening more than looking.

Quiet at first, but growing gradually louder, something--or things--swirl and shriek over the lake.

There might be a bright, aurora-like wisp accompanying the sounds, or it might be nothing at all.

RYAN

My dad used to bring me out here all the time.

Noah smiles. This is the most like himself he's ever felt.

NOAH

Do you think they're really ghosts?

Ryan takes a bite of his sandwich.

RYAN

What else would they be?

CUT TO BLACK.

THE END

The Best of Our Mud

Sunday

Bonan­za Gloop, a Tier II Mud Mon­i­tor in Park Ridge, looks sky­ward at exact­ly 9:23 AM and notices that an Air­bus A320, CloudAir flight 447 inbound to O’Hare, has stopped in its final approach and is hov­er­ing in midair direct­ly above her mud field. Shocked and annoyed, Bonan­za imme­di­ate­ly noti­fies her supervisor. 

By 11:30, a small crowd has gath­ered to wit­ness the strange phe­nom­e­non. Bonanza’s super­vi­sors at Mud Cen­tral are busy research­ing pro­ce­dure in the Mud Man­u­al and have not instruct­ed her how to respond. 

Hey,” says boiled food expert Bran­dolin Sur­plus, one of the dozens of gawk­ing civil­ians, “Do you think the air­port knows about this?” 


The air­port does know about this, and after repeat­ed and bel­liger­ent requests for com­ment from local media, O’Hare spokesper­son Kevin Kevin Kevin calls a press con­fer­ence and deliv­ers the fol­low­ing state­ment, pre­sent­ed here in its entirety: 

Thank you for your concern. 

He then leaves his podi­um, hur­ries to a wait­ing safe room, and locks him­self inside as fren­zied reporters attempt to ask him fol­low-up questions. 

Monday

Bonan­za Gloop returns to work to see the plane still hang­ing in exact­ly the same spot, and that the morn­ing mud has been ruined by a gath­er­ing of onlook­ers, whose pres­ence has made the mud ner­vous and soupy. Bonan­za is annoyed, but remem­bers her train­ing and keeps her emo­tions in check. 

I won­der what’s going on in there,” whis­pers Mon­i­ca Sur­plus, Brandolin’s sister. 


On board CloudAir flight 447, calm and order reign supreme. Pas­sen­gers sit patient­ly as flight atten­dants embark on their fif­teenth bev­er­age ser­vice. In busi­ness class, mar­i­jua­na dis­pen­sary fran­chis­ing agent Sput­nik Hawaii glances placid­ly at his zinc-plat­ed design­er watch, and the voice of the pilot rings out over the speakers: 

Ladies and gen­tle­men, this is your cap­tain speak­ing. We con­tin­ue to hov­er 920 feet over Chica­go, and at this time our land­ing has been post­poned indef­i­nite­ly. When the sit­u­a­tion changes, you’ll be the first to know. Thanks for your patience! 

You’re wel­come!” rejoin the pas­sen­gers in sing-song unison. 


Gosh, it must be hor­ri­ble. I can’t even imag­ine,” con­tin­ues Mon­i­ca as her feet squelch in the mud. 

Bonan­za grits her teeth.

“Boo hoo,” adds Mon­i­ca. Squelch, squelch squelch. “Boo hoo hoo.” 

Tuesday

Bonan­za is hor­ri­fied to dis­cov­er that by the fol­low­ing morn­ing, a can­dle­light vig­il has bro­ken out in the mid­dle of her mud field. Scores of enthralled vig­ileers, heads cant­ed back at uncom­fort­able angles, jos­tle each oth­er for a glimpse of the hov­er­ing air­craft. Their feet have utter­ly intim­i­dat­ed the mud, and all of Bonanza’s encour­ag­ing progress has been lost. She can feel the fury boil­ing just beneath her scalp—oh, how she would love to fry these feck­less boors —fry their feet espe­cial­ly so they could nev­er ter­ri­fy the poor, inno­cent mud ever again! But she admon­ish­es her­self to remem­ber her train­ing, to remem­ber in par­tic­u­lar the words of her men­tor, a griz­zled old guru named Plax­ton Blonus: 

M’dear, the life of a Mud Mon­i­tor is full of sor­rows. It is our sta­tion. We are cho­sen for this task because we are strong enough to endure in wretched silence. 

And so, endure Bonan­za does. 

Air­port offi­cials still can­not be reached for fur­ther com­ment, despite reporters’ efforts to scale the con­trol tow­er and burn it to the ground. 

The plane con­tin­ues to hov­er, the lights on its wingtips blink­ing gai­ly as if not­ing is amiss. 

I can’t take it any­more!” shrieks vig­ileer DiAn­nis­ter Shanklin, a minor-league shapes ana­lyst from Mesa, Ari­zona, on loan to Goose Island Brew­ing for the pur­pose of cre­at­ing a lim­it­ed run of octag­o­nal bot­tle caps. She stomps her mud­dy feet in impo­tent frus­tra­tion, and Bonanza’s blood growls in her head. 

Wednesday

Noth­ing hap­pens on Wednesday. 

Thursday

Thurs­day, Novem­ber 10th is impor­tant because four things happen: 

  1. That morn­ing, the Blob­cake Hut at Touhy and Green­wood offers a two-for-one deal on mashed toma­to Blob­cakes, and three peo­ple are killed in the ensu­ing frenzy.

  2. The King of O’Hare arrives at work for the first time in remem­bered his­to­ry, calls all of the Air­port Regents into a dark and gloomy room, and makes an unspec­i­fied num­ber of secre­tive plans.

  3. That after­noon, Bonan­za returns from her lunch break and is incensed to see that one of the vig­ileers has removed his shoes and is using his bare and hideous toes to forcibly agi­tate the mud. Bonan­za can feel the mud cry­ing out in anguish and fear, and she is no longer able to con­tain the sav­age fury that rips scald­ing­ly out the top of hear head, lay­ing waste to every vig­ileer in sight.

    In this rage-induced fugue state, Bonan­za ful­ly under­stands that her vio­lent reac­tion is moral­ly wrong and indeed unpro­fes­sion­al, but she is unable to stop her­self, almost as if she is watch­ing an amus­ing inter­net video depict­ing these vicious acts.

    When Bonan­za regains her com­po­sure, she is sur­round­ed by tat­tered bod­ies, all float­ing face-down in the pan­icked mud.

  4. At 11 PM, Drex­el Con­vex­el, assis­tant answer­ing machine oper­a­tor at Lad­ders Excel­sior, the fore­most lad­der man­u­fac­tur­ing con­cern in all of Oak Park, logs a request for the most ambi­tious order his com­pa­ny has ever under­tak­en. After fill­ing out the order form, he rings the bell three times just as his father taught him so many years ago, and swal­lows a hand­ful of anti-anx­i­ety pills kept in a near­by glass ampoule for pre­cise­ly this eventuality.

Friday

Bonan­za sits in a dank cell in the sub-base­ment of Mud Central’s office of Munic­i­pal Mud Admin­is­tra­tion. She takes a deep breath as yesterday’s mem­o­ries come seep­ing back to her: so much feroc­i­ty. The mud must have been terrified. 

Alone for the first time, Bonan­za final­ly allows her­self to weep. Her offense is severe: she has let her anger pre­vail, and in so doing she has besmirched the name and noble call­ing of Mud Mon­i­tors every­where. Mud Central’s ret­ri­bu­tion will sure­ly be severe. She hears foot­steps in the cor­ri­dor and braces her­self for the worst. 

It would be an under­state­ment to say that Bonan­za is sur­prised by the per­son who enters her cell: Tedd Sprudd, the king of O’Hare! With four Air­port Regents in tow! 

King Sprudd explains to Bonanza—by way of an interpreter—that her feat of bar­bar­ic strength has come to the Airport’s atten­tion, and that he has a task for her by which she might atone for her shame­ful outburst. 

Bonan­za gra­cious­ly and grov­el­ing­ly accepts the King’s pro­pos­al, where­upon she is whisked away to a secret facil­i­ty near Con­course D. 

Saturday

At 7:07 AM, the lad­der is raised in the Trad­er Joe’s park­ing lot across the street from Bonanza’s mud field, com­ing to rest against the body of the strand­ed plane with a bare­ly-audi­ble clank. The event is attend­ed by his­tor­i­cal cer­tifi­cate cosign­er I. Zim­bab­we Escape, Jr., who ver­i­fies it to be the tallest lad­der ever used with­in the Chica­go met­ro­pol­i­tan area. 

Paus­ing only for a kiss of encour­age­ment from Munic­i­pal Kiss­ing Prac­ti­tion­er Vent Spif­f­en­ers, Bonan­za begins her 920-foot climb to the strand­ed jet. 


On board CloudAir flight 447, the strand­ed pas­sen­gers are enter­ing the sev­enth day of their flight. Spir­its remain high as the cab­in crew cues up the lat­est Kevin James movie for its 58th con­sec­u­tive show­ing, and the plane is filled with jovial laughter. 


Bonan­za gasps for breath as she reach­es the apex of her climb, where she is care­ful not to stand on the top­most rung of the lad­der for safe­ty rea­sons. She finds that she can lean up against the fuse­lage of the jet as she rests, gaz­ing down at the city far below. She’s nev­er real­ly grasped how big it is until this moment, and she is alarmed to note how lit­tle of it is made of mud. 

It’s almost as if her job isn’t impor­tant, she mus­es before she stops her­self and clears her mind by inter­nal­ly recit­ing the Mud Mon­i­tors’ Oath: 

To this I swear, my word be true
I watch the mud and gain its trust
This watch I hold the whole year through:

I hold this watch because I must. 

Bonan­za knows what she must do. She ris­es to her feet, press­es her shoul­der against the cold met­al of the plane, and gives it a sin­gle emphat­ic shove. 

As the plane drifts away—slowly at first, but rapid­ly gain­ing speed—Bonanza watch­es the scores of hap­py pas­sen­gers wav­ing to her through their win­dows, mouthing the words, “THANK YOU!” as they sail off to their final destination. 

Well, that’s that, Bonan­za thinks to herself—and at that pre­cise instant real­izes that the plane is gone, and there is now noth­ing for the lad­der to lean against. 

Giv­en an alti­tude of 920 feet (h) and a mass of 130 pounds (m), with an air resis­tance of 0.16 pounds/​foot (k) and the grav­i­ta­tion­al con­stant of 32.19 feet/​second2 (g), we can deter­mine the dura­tion of Bonanza’s free fall using the fol­low­ing formula:

$latex t=\sqrt{\frac{m}{\mathrm{g}k}}\arccos h\left (\mathrm{e}^{\frac{hk}{m}} \right ) &s=2$

There­fore: Bonan­za spends approx­i­mate­ly nine sec­onds in free fall, dur­ing which time she con­tem­plates her Earth­ly existence.

Second 1

Bonan­za reflects on her hatred of ladders.

Second 2

Bonan­za recalls an idiomat­ic expres­sion her moth­er used to use when she was over­come by emotion:

Looooo­ord piss a pickle!

Second 3

Bonan­za wit­ness­es a minor car acci­dent at Busse and Mor­ris. One of the cars is red and one is brown.

Second 4

The col­or brown reminds Bonan­za of her one true pas­sion: the mud. She thinks about how warm and gooshy it is, how full of hope and possibility.

Second 5

Bonan­za revis­its the mem­o­ry of her vio­lent out­burst. She con­sid­ers just how dam­ag­ing it must have been for the poor, saint­ly mud to see the guardian it had grown to rely on becom­ing so enraged and dead­ly, how the mud is now sure­ly trau­ma­tized for good. How she would nev­er have been able to ful­ly regain its respect, even had she suc­ceed­ed today.

Second 6

How per­haps it is for the best that she should perish.

Second 7

Bonan­za thinks back on all the good times she had with the Park Ridge mud—love and hap­pi­ness and grow­ing together.

How she’s sor­ry for the hurt she’s caused the mud, and how in time, under the watch­ful eye of a new, more com­pe­tent Mud Mon­i­tor, she hopes it can over­come this set­back and flour­ish once more.

Second 8

Bonan­za hears the Song of the Mud for the first time since she grad­u­at­ed from her train­ing and was adorned with her mud hat before a thou­sand cheer­ing well-wish­ers. It is wist­ful and beautiful.

Second 9

Now, Bonan­za knows, she will die. But she believes in her gloopy heart that she will some­day be reborn out of the muck, for from mud she came and to mud she shall return, over and over for­ev­er. Bonan­za Gloop. Gloop: mud. She is mud, in her mud-heart.

The mud field is close now. It is fit­ting that she should fall here. It is right.


At this moment, Bonan­za is trav­el­ing at 153 feet per sec­ond, or just over 100 miles per hour. She will strike the ground with a force of over 40 g’s, killing her instantly.

Or she would, were it not for the mud, which at this instant leaps up and envelops Bonan­za, cradling her for the final thir­ty feet of her descent and deposit­ing her gen­tly on the ground with what most onlook­ers hear as a whoosh, but sounds to Vent Spif­f­en­ers exact­ly like “I love you.”


CloudAir flight 447 lands safe­ly at O’Hare. Every­one hugs each oth­er and then goes home.

Sunday

By Sun­day, every­thing has returned to nor­mal. Bonan­za Gloop arrives at the mud field that morn­ing to find no jet over­head, no dis­rup­tive can­dle­light vig­il, just beau­ti­ful, beau­ti­ful mud.

The sun is bright. The mud twin­kles. Every­thing is going to be fine.