The problem with movie scripts is that they use a very different format for describing the visual side. Comics, manga or American, have a need to communicate not just what happens, but how to turn it into a page. So one almost universal feature (unless the writer storyboards) is to give a page description at the top (so many panels, perhaps some idea of the layout and sizing of the panels) then a detail of dialog and visuals on a panel by panel basis. While in a movie you can just give each character's lines, occasionally interspersed with parentheticals, action descriptions and scene descriptions, in the comic you have to actually break down how the dialog lays out on the page.
I mentioned storyboarding, though. An alternative to the above is to do exactly what Raiden says, then draw thumbnails of each page, with index numbers to match the people and dialog to the script. This is a common practice when the writer and artist are the same person. An artist will want to work out the graphics visually, on sketch paper rather than in the script. When they get more successul, the artist may cease doing any other work than this, passing the storyboard and script over to underlings to finish.
The problem with this method is if the artist is a separate person but considers themselves an equal partner. They may not want you dictating that much of the visual side to them. Guidelines in the script are a better choice in this case.
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Largo: "Well Ed, good to see ya. Guess I gotta beat the crap out of you now."
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