The editing in Secret Diary has specifically been done to create an awkward atmosphere. After opening the door, an eye-line match is used to show the call girl looking at the boy in a wheelchair , Blake, and then his father who has helped him get there. After inviting them in, there is another eye-line match used when Blake is looking at the call girl as she asks for the money. We then see a shot of her not knowing who she should be asking as she first looks at the father and then Blake. Blake then asks his father to get the envelope of money out of his bag. It cuts to a shot of Blake looking embarrassed while his father rummages through the bag. Each shot seems to go on slightly longer than it should to emphasise the awkwardness of the situation.
The call girl then leaves the room for a while and Blake hints at his father to lift him over to the bed. During this part, an action match is used to show him going to lift Blake, and then lifting him in the next shot. After, there is a short exchange between Blake and his father where shot-reverse shot is used to show their reactions to the awkward conversation. It then cuts to a shot of the call girl returning as this is happening and then nearly leaving again to leave them to have a private moment. An eye-line match of Blake and his father noticing the call girl is used so she decides to stay. The father then asks if they have talked about what Blake is capable of doing. A shot-reverse shot is used again to show the uncomfortable looks on their faces. It also cuts to a quick shot of Blake saying yes so his father stops talking. Next there is a over-the-shoulder shot from the perspective of the call girl showing both the father and Blake as the father says he is leaving. This shot lasts for what feels like a long duration of time. Then there is an action match shot when Blake's father kisses him on the forehead.
After Blake's father leaves, the call girl goes to lock the door. There is then a shot-reverse shot between Blake and the call girl to show Blake's feeling of vulnerability and the call girl noticing. There is then a series of shot-reverse shots as the call girl tries to make small talk with Blake, but when Blake is on screen he says nothing. This enhances the feeling of awkwardness.
The scene then cuts to Blake's father outside opening the car door. An eye line match is used when he looks up towards the room that Blake is in. This shows how anxious he is feeling about his son and he is hoping he is alright. After entering the car there is a series of jump cuts as the father turns on the music and turns it off, fidgets on his seat and plays with the window. This fidgeting expresses his anxiety and the jump cuts make it look disjointed and emphasises his inability to be relaxed.
The scene then cuts back to Blake and the call girl in the room. This scene privileges the master shot of the call girl being physically higher in the frame as she leans over him because it keeps cutting back to it. This shows that she is now more confident in the situation and is in control
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