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It goes something like this:
"Hello," he said, wondering at the smile on her face.
She held out her hand, thinking he was extraordinarily attractive.
He took her hand, noting her smooth skin and soft hands. She reminded him of his mother. He reminded her of her father, though both of their parents were dead.
Ellen entered the room, surprised to see that they were both in conversation, as though they had known each other for years. Her plan was working out. The two of them were together, and neither of them (at that moment) had any idea that it was all Ellen's doing.
As you can see, the point of view is all over the place, and really, this is omniscient point of view (popular in the nineteenth century). However, if you're going to use it, you have to give clear signals when you shift from one point of view to another.
You can shift within scenes, as I suggested, but the "rule" where you stick with one point of view for each scene isn't a bad one. The thing you have to remember is that you can only write about what the point of view character can see, hear, taste, smell, touch, think. The idea is that you're inside them, inside their head, walking around in their body. They can't suddenly know about something they can't see, or know what someone else is thinking.
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