Methods for modely subtext in a word of art

EXAMPLES OF SUBTEXT
Subtext is a common convention of modern scripts and appears in every film and play we see today. Here is a simple two line exchange to illustrate subtext:LIVING ROOM
A man enters the room. A woman is sitting on the couch.
MAN
How are you?
WOMAN
I’m fine.
There are 1,000 different ways to play this scene and they all hinge of the choice of subtext. Is the Woman really fine? Does the Man really care? An actor could decide that the Woman is happy, sad, angry, disappointed or any number of emotions which would change the delivery of the line (of course, do not play an emotion, play an action). The same can be said for the Man. He could be in a hurry, he could be sympathetic, or he could be sarcastic among other things. This example is only to show how subtext can change. In a well-written script, there will be clues about the characters’ emotional state and the true meaning of the dialogue.
THE LAST WORD, BETWEEN THE LINES
Recognizing and interpreting the subtext of a scene is an advanced skill that the best actors put to good use. Determining what the subtext is requires careful analysis of the script, and interpreting the subtext correctly requires solid acting technique. If dialogue is what the actor says and action is what the character does, then subtext is what the character ultimately means 1 Use double meaning
Watch a cute scene from Double Indemnity It is full of puns and innuendos, giving the viewer plenty of opportunity to participate in the scene You don't have to create such clever jokes in your scene, but using double entendres is a great way to add subtext.

2. Change the subject

Louise avoids JD’s low-key inquiry into her evasion tactics and changes the subject at the end of this clip from Thelma and Louise.
Not wanting to get into the real reason why she goes out of her way to avoid the police, she thinks it's easier (and better) to change the subject.
Tension is added in this scene, too, because the viewer knows why Louise is avoiding this conversation—even if JD doesn't.