I'll combine my general notes on the script with the ones about the structure in this comment. Up to the inciting incident: (Pages 1-11) The voice over of Bell in the opening was for the theme. The writer wanted us to understand early what's the message of the script. For me it was: "Violence is invading what used to be a peaceful society in America like an new wild west era" Chigurh's arrest and break out set up perfectly the tone and pace of the script. When I read this: "The blood hit the office wall, drumming hollowly." I knew it's gonna be a dark, slow-paced, thriller. It was an impressive thing to do in such short time. The murder of the Ford sedan owner told us in a nutshell what kind of psycho we're up against in this ride. But, this two scenes got me wondering, why the writer is telling a back story of the villain and not the protagonist? Then I assumed that maybe he's trying to say that this is a villain-driven tale not the other way around. When we meet the lead, Moss, the inciting incident happens too soon. He finds the deal-went-awry aftermath. Later the he takes the money. We don't get to know the guy, we don't get to relate to him. And here is the thing, since the antagonist is the one leading, our bridle will be our hatred to him, not our sympathy with Moss. But we'll get more of both later in the script. Note: There is no description of the main characters. The writer seems to prefer defining them with actions and dialogue. And I loved this approach, won't dare to use it though in my own writing. It would have been interesting if I read the script before I watched the movie to see how I would imagine Moss and Chigurh. Deliberation/finishing the first act: (Pages 12-29) An act of humanity put Moss into unneeded troubles, and makes us relate to the guy along the way. He goes back to the scene to help the driver, but bad guys are waiting for him. He feels the gravity of the situation for the first time, and the heat of the threat scalds him. He has to run away and send his wife somewhere safe. Chigurh lets us know about the philosopher side of his personality. We get to hate him even more. The coin scene is one of my favorite of all time. Now we realize that this psycho is hired to hunt Moss, which end the first act perfectly, and introduce us to the second act, the act of conflicts. In the first act we knew that Moss is not an easy prey, and Chigurh is the worst hunter you can possibly have on your tail. We can't wait to see what kind of conflicts this both characters are gonna give us. Our expectations are already high. Second Act till mid-point: (Pages 30-63) Bell gets involved. He starts investigating the crime scene where Moss found the trucks and the bodies. Chigurh got the transponder, closing in on Moss, who already made safety precautions, which is pretty much what we expected. A skillful hunter vs a cunning prey kinda game. The mid-point was when Moss had a false sense of triumph finding the sending unit, but it's too late, Chigurh found him. Now the stakes is the same, his life, but the threat is more dangerous, a psychopath killer, who might be as smart as the victim, or smarter. Bell follows the right trail, but he's still a couple of steps behind. Midpoint till third act: (pages 64-88) Moss escapes his hunter's grip, but he's badly injured. Carson character is introduced. I didn't find much value for his character except the fact that he was used as an exposition tool to tell us more about the villain and why he attacked the people who hired him. The conflicts of the second act end when Chigurh eliminates competition and zeros on Moss, giving him the only deal he will ever have: his wife's life for the money. Moss makes his choice and decide to stop running away and face his enemy instead, but for the plan to work, he needs to put his wife out of the equation first. Third act: (Pages 88-122) The wife is supposedly safe now, but a third party interfere and ends Moss plans for good. And I liked this choice very much. If Chigurh was the one to kill Moss, it would have been a too bitter fail to swallow for us. This way it was a failure for the villain too, because he didn't do the job and the money was gone. What served as a climax for me was the moment when Bell and Chigurh were on both sides of the door. That was a tense moment. It certainly summarized the theme. Old goodness, new evil, and a door in between. In the end, the resolve was that the old good guys and their ways to fight crime is no match for the new bad guys and their ways. New kind of heroes needs to steps in and face this new type of wickedness. And the dream shows somehow, in my opinion, that the torch should be passed to the next generation, so it would deal with her own problems. Sorry for typos/mistakes. I wrote it in a hurry.

Great breakdown, Ammar. It's interesting because I just saw this Tweet about NCFOM: "I think this is one of the movies Speilberg meant when he said movies now just have a beginning and beginning and beginning." I wonder if anyone felt that way? Or is that just an expression of a 'traditional' attitude toward story structure vs. a more 'post-modern' approach [whatever those terms might mean]?