(to old woman) I'm sorry, ma'am, he's not in right now. The receptionist gestures toward a Christmas tree in the corner. OLD WOMAN This book -- It's essential that people read it because -- (gravely, patting the manuscript) -- It's the truth. RECEPTIONIST (nodding sympathetically) Maybe after the holidays then. TILED HALLWAY - DAY The old woman carries her manuscript haltingly down a subway hall. TUBE -DAY The woman is still in the chair as it slips gracefully into a line of chairs shooting through a glass tube. We stay with the woman as she and the others travel over New York City in the tube. The old woman smiles and sits, the bulky manuscript on her lap. RECEPTIONIST (CONT'D) (quietly into headset) It's her -- I know, but couldn't you just -- Yes, I know, but -- I know, but she's old and it would be a nice -- Yes, sorry. Anyway -- MARY Anyway, I've got to do my tap dance here.
Joel sits in a booth and eats a grilled cheese sandwich and a bowl of tomato soup. Clementine enters, looks around, takes off her hood. That I have some completely unrealistic notion of what a relationship can be. So then I think I should settle -- which is not necessarily the best word -- I mean, he's a good guy. Then I think maybe I'm just a victim of movies, y'know? STAN Hey, if you're ordering lunch for Mierzwiak, would you -- MARY I better do this, Stan.
Mary smiles at Mierzwiak and closes the door, leaving them alone. OFFICE - CONTINUOUS Mierzwiak directs Clementine to a chair next to a coffee table and a conspicuously placed box of tissues.
An old woman enters carrying a tattered manuscript, maybe a thousand pages. The young receptionist, dressed in a shiny, stretchy one-piece pantsuit, looks up. OLD WOMAN (apologetically) Hi, I was in the neighborhood and thought I'd see -- RECEPTIONIST I think he's in a conference.