A good screenplay is the result of the writer's intelligence and talent in narrating the story they want, and the required implications it contains. These implications are the film's themes, which are preferably not made explicit in the cinematic work lest it turn into a film of slogans and positions. As for making use of what appears in the screenplay in this way, that is another matter that concerns only the director.

In the film 'The Grand Illusion' (La Grande Illusion) by director Jean Renoir (1937), there is a striking scene of a German widow whose husband and sons died during World War I. There is a high-angle shot of her feeding her only surviving son, who was young and not sent to the front. The shot shows the mother and son sitting at a large table surrounded by empty chairs. The meaning here is that she still remembers her dead.

The opening scenes of the film 'The Naked City' by director Jules Dassin (1948) feature a display of New York City streets, revealing poverty and poor economic conditions. This is repeated on a higher level when the screenplay indirectly compares the salaries of the wealthy with the salary of the police commissioner, played by Barry Fitzgerald.

At the end of the film 'The Asphalt Jungle' by director John Huston (1950), the American dream completely collapses when the film's protagonist, played by Sterling Hayden, runs wounded by a bullet towards a horse farm. He falls dead among them, while they gather around him as if aware of his tragedy.

The ending of the film 'Citizen Kane' is, by design, the opposite of the entire film. The film is complex, with many shifts between characters, scenes, and narrative styles, while the ending is simple: a glass snow globe rolling down the stairs, a visual depiction of the end of dreams and desires.

Among the difficult aspects of writing that usually transfer to films is justifying an action. If this justification is not convincing and sufficient, it will remain a gap in the film throughout its runtime.