Mallory Rubin

And it's, like, most people will be relieved to hear there was no stroke, there's no mass.

But then the Parkinson's thing comes up, right?

Like, when the doctor asking, like, when did your father die?

What was the time for the onset of your father's Parkinson's?

And she's like, that's not what this is, is it?

And then when, when Daniel and Margaret are on the train and she's having a panic attack and he's calming her, she's like, my hands, like this is what, this is what my father, that was so intense and so great.

And like connecting to your childhood trauma, not only this moment that she's like, I don't want to think about that.

I don't want to look at that until I have to.

And then Daniel is in a different place where he's like, I,

I have these missing aspects of my life.

You can look at somebody and understand everything that's ever happened to them.

Can you tell me about when I was a kid?

That's really interesting.

I thought that was all really good and cool.

I think the fact that we go to, at the end of the day, Margaret's childhood home, which Hugo and his team have built inside of a soundstage.

They are making a movie, right?

It's fine.

It's fine.

That is true.

Sounds great.