In this scene, Mary Maloney eagerly waits for her husbands return from work. The lighting is high even though the setting is at night, the camera shot is focused on Mary with a medium shot/regular shot, the only noise is that of the clock and Mary (therefore diegetic), and the camera angle starts close up to Mary and very slowly zooms out into a medium shot.
...But you must eat! I’ll fix it anyway, and then you can have it or not, as you
Just for a minute, sit down.
Is this scene Mary happily greets her husband as he walks through the front door. The lighting stays the same, the shot is once again a medium shot, the noise is diegetic (clock and conversation are the only audibles), and the camera angle is dolly/tracking.
...I'll give you money and see you're looked after.
Mary here engages in short conversation with Patrick. The lighting is still high key, the camera angle is a pan with a cut like transition (pans around the scene but changes with a quick cut-like pan that focuses on the speaker for a second and then continues panning), the camera shot is fixed medium on the speaker and is also at medium distance around the center of the scene (speakers) during the pan (transitions like previously stated), and the noise is diegetic.
Here, the twist and true plot of the story begins to/is revealed; Patrick is divorcing. The lighting dims slightly at the moment Patrcik says sit down, the shot is medium, the camera angle starts at a zoom in but slowly zooms out to get a better visual on the scene, the noise is diegetic.
Mary "leaves reality" with a delusion like effect (this scene is shot from her view out of her body). Her actions and surroundings are a blur (like she's brainwashed). The lighting blurs (blurs almost completely), the surrounding noise is only that of the clock but it sounds distant and like it is surrounding her in her head all at once (diegetic - Patrick's voice is "blurred" and we are hearing what Mary hears), the camera is zoomed on Mary's face, and the shot is a close up on Mary.
Mary goes for her weapon of choice as she decides to kill her husband. The noise and lighting are the same as the previous scene (still "delusional' and the scene is shot from her view but this time in her body; we are seeing and hearing what she hears and sees), the camera angle is dolly (following what she sees as we are moving with her movement), and the shot is following what her eyes see but ends with a close up on the leg of lamb.