Editing

As the girl opens the door we see a long shot from behind her looking down at the boy in the wheelchair, and then up to see the father.  This tilt revealing the father shows the girl was not expecting the dad to be with him.

The next shot reverse shot shows an eye line match of the girl looking down at the boy and then up at the his dad, whilst waiting for a response.  This is used to emphasise the awkwardness of the situation.  This scene also establishes the 180 degree rule for the following scenes shot in this location, maintaining the continuity.

A long take follows this shot of the man looking for the money.  This drawn out take is used to give us time to see the father's expression and to make the audience anxious.

The following shots contain two action match shots, which are used to make the scene flow smoothly.  We then see an eye line match of the girl watching the boy talk to his father, drawing attention to her awkwardness 

The father has now exited and we see an eye line match of the boy looking across the room to the door as the girl goes to lock it.  A shot reverse shot is used to show the boy's vulnerability, then to her locking the door and then back to the boy, expressing his anxiety and nervousness.

The next shots are particularly long takes during their conversation.  These slow pace takes have been used to create anxiety in the audience, as the shots are longer than they need to be.

An eye line match of the father looking out his car window at the room his son is in, highlighting his anxiety and discomfort.

Next we see a series of jump cuts of the father in the car.  These series of shots have no relation and draw attention to the discontinuity of the scene.  This shows the father is anxious and fidgety.

A cross cut is used to imply the two events are taking place simultaneously, but in different locations.

The final scene privileges a master shot of the boy and girl.  The master shot shows her being on top/above him giving us the impression that she is in control.