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                            LIFE OF PI

                            Written by

                            David Magee

                  Based on the original novel by

                            Yann Martel

1   EXT. PONDICHERRY ZOO, INDIA, 1961 - DAY                      1

    CREDITS OVER: a magical fairy tale world in collage - images
    of fantastic creatures striped and spotted, hoofed and

    Goats and warthogs mingle in an open field; a baby giraffe
    tries to reach leaves over a fence; rhinos roll happily in
    rich red mud, looking like giant muddy boulders, while
    nearby, black and white Malayan tapirs cool themselves in
    watering holes.

    Exotic monkeys with comical faces cling lovingly to one
    another, swing from trees, climb over one another, prance and
    screech; a probiscus monkey with a 'Jimmy Durante' nose
    pointing out through the plane of the screen. Flamingoes
    strut about in the aviary, their pink feathers reflected in
    the water.

    A sloth droops lazily from a tree branch, unfazed, while a
    nearby hummingbird zips manically from flower to flower like

    ... the Pondicherry zoo is a children's paradise nestled in a
    botanical garden.

                        WRITER (V.O.)
              You were raised in a zoo?

3   EXT. PONDICHERRY ZOO, INDIA, 1961 - DAY                      3

    There's a flurry of activity in the animal clinic behind a
    monitor lizard that wanders the main path. ZOO WORKERS gather
    in the doorway, talking excitedly.

    No one notices the lizard.

                        ADULT PI (V.O.)
              Born and raised in Pondicherry, in
              what was the French part of India.
              My father owned the zoo, and I was
              delivered on short notice by a
              herpetologist who was there to
              check on the Bengal Monitor Lizard.

    The zoo owner (FATHER - late 20s) hurries down the path as
    quickly as his heavy leg brace will allow and hurries into
    the animal clinic.

                        ADULT PI (V.O.)
              Mother and I were both healthy...

    The lizard crawls away.

                        ADULT PI (V.O.)
              but the poor lizard escaped and was
              trampled by a frightened

5   INT. PI'S HOME, KITCHEN, MONTREAL - DAY                       5

    A modest row house. There is a French influence to the decor,
    along with books and artwork that celebrate the spiritual.

    PI PATEL (50 - intelligent, Indo-Canadian) cooks an Indian
    meal. The often-skeptical WRITER (late 30s, a disheveled
    French Canadian), watches Pi.

                        ADULT PI
              The way of karma; the way of God.

              I assumed your father was a
              mathematician - because of your

                        ADULT PI
              Oh, far from it. I was named after
              a swimming pool.

              There's a swimming pool named 'Pi?'

                        ADULT PI
                  (He chuckles.)
              You see, my uncle, Francis, was
              born with too much water in his
              lungs. They say the doctor swung
              Francis around by the ankles to
              clear the water out and that's what
              gave him the huge chest and skinny
              legs that made him such a great

              Is Francis actually your uncle? He
              said he was friends with your

              I call him 'Mamaji,' my 'honorary
              uncle' - my father's best friend,
              my swimming guru.


                        ADULT PI (V.O.)
              I trained with him three times a
              week at the ashram. His lessons
              would save my life in the end...

    A young Indian boy - PI AT AGE FIVE - surfaces from a pool,
    gasping. He looks up at the large chest and skinny legs of
    Mamaji (late 30s). Mamaji reaches down to scoop Pi out of the

              A mouthful of water will not harm
              you - but panic will.

    Mamaji carries Pi back over to the water's edge.

                        MAMAJI (CONT'D)
              Remember to breathe. Don't hold
              your breath. Good boy.

    Mamaji unceremoniously tosses Pi back in.

7   INT. PI'S HOME, KITCHEN, MONTREAL - DAY                       7

                        ADULT PI
                  (Regarding lunch:)
              I hope you don't mind vegetarian.

              No, not at all... And your name?

                        ADULT PI

              You - you were going to tell me how
              you got your name, I think.

                        ADULT PI
              I got it from something Mamaji once
              told my father. Most travelers
              collect postcards or teacups on
              their journeys - but not Mamaji.
              Mamaji collects swimming pools.

                         ADULT PI (CONT'D)
               He swims in every pool he comes

8    EXT. THE PISCINE MOLITOR, PARIS, 1959 - DAY                   8

     Mamaji stands admiring the Piscine Molitor, a pool of
     sparkling magnificence. Attractive French men and women in
     bathing suits, the setting a celebration of idealized beauty.

                         ADULT PI (V.O.)
               One day Mamaji said to my father
               that of all the pools in the world,
               the most beautiful was a public
               pool in Paris. That the water there
               was so clear you could make your
               morning coffee with it, that a
               single swim there changed his life.

     Mamaji dives into the crystal clear water - and we follow,
     taking in the divine miracle of his underwater journey across
     the pool.

                         ADULT PI (V.O.)
               Before I was born, he said to my
               father, "If you want your son to
               have a clean soul, you must take
               him one day to swim in the Piscine
               Molitor." I never understood why my
               father took this so much to

9    INT. PI'S HOME, MONTREAL - DAY                                9

                         ADULT PI
               ... but he did, and I was named
               "Piscine Molitor Patel."

10   EXT. PI'S PRIMARY SCHOOL, 1972 - DAY                         10

     PI (AGE 11) leans against the railing of a balcony, reading
     "L'Ile Mysterieuse (The Mysterious Island)" by Jules Verne.

                         ADULT PI (V.O.)
               Imagine me trying to explain that
               name to my schoolmates. I barely
               made it to the age of eleven

     A boy (BULLY #1) calls up to him from the courtyard below.

                         BULLY #1
               Hey PISCINE!

     Pi glances down, all the boys in the courtyard watching him.

                         BULLY #1 (CONT'D)
               Are you Pissing right now?

     Pi freezes. The other boys laugh uncontrollably.

                         ANOTHER BOY
               Look at him he's Pissing!

                         ADULT PI (VO)
               With one word my name went from an
               elegant French swimming pool to a
               stinking Indian latrine. I was
               Pissing everywhere.

11   I/E. SCHOOLYARD, 1972 - DAY                                 11

     BOYS in school uniform kick a ball. Pi attempts to join.
     Bully #2 intercepts the pass.

                         BULLY #2
               No Pissing in the schoolyard!

12   INT. SCIENCE CLASS, 1972 - DAY                              12

                         ADULT PI (V.O.)
               Even the teachers started doing it -
               not deliberately, of course...

                         SCIENCE TEACHER
               So then - what might occur if we
               release gas too quickly? Pissing?

     Pi is aghast. Several students splutter and howl, whispering
     the slip to others. Laughter ripples around the room, all
     eyes on Pi.

               He said Pissing!

                         SCIENCE TEACHER
               That's enough - order!

                         ADULT PI (V.O.)
               When we returned the next year for
               our first day of school, I was


Class is held in a large open room. Roll call.

          Present sir.

                    HISTORY TEACHER
          Piscine Patel...

PI - AGE 12, rises, crosses to the front.

                    PI (AT 12)
          Good morning. I am Piscine Molitor
          Patel, known to all as...
              (He writes "PI" on the
          ... "Pi," the sixteenth letter of
          the Greek alphabet...

Pi writes , then quickly charts out a general notion of the
concept on the chalkboard.

                    PI (CONT'D)
          ... which is also used in
          mathematics to represent the ratio
          of any circle's circumference to
          its diameter - an irrational number
          of infinite length, usually rounded
          to three digits, as...
              (He writes "3.14.")
          3.14. PI.

Pi underlines his name, faces the class.

                    HISTORY TEACHER
          Very impressive, Pi. Now sit down.

                    WRITER (V.O.)
          And from then on you were Pi?

                    ADULT PI (V.O.)
          Well, no. Not quite ...

As Pi returns to his seat, Bully #2 leans forward,

                    BULLY #2
          Nice try, Pissing.

                    ADULT PI (V.O.)
          But I still had the whole day ahead
          of me. French Class was next...

14   INT. FRENCH CLASS, 1973 - DAY                                14

     Pi repeats his act in French, 3.14159265 on the board.

                          PI (12)
               Je m'appelle Piscine Molitor Patel -

                         ADULT PI (V.O.)
               Then Geography...

15   EXT. GEOGRAPHY CLASS, 1973 - DAY                             15

     Class is held out of doors in a courtyard. Pi, at a portable
     chalkboard, writes and says: 3.14159265358979323846.

                         PI (12)
               These are the first twenty decimal
               places of Pi.

                         ADULT PI (V.O.)
               My last class of the day was

16   INT. SCHOOL HALLWAY, 1973 - DAY                              16

     A LIBRARIAN runs down the hall, a huge book tucked under his
     arm, followed by dozens of students. He reaches Pi's class,
     pushes his way through the crowd.

               Slowly, Slowly! Slowly, Slowly!

17   INT. MATH CLASS, 1973 - CONTINUOUS                           17

     Close on Pi writing digits. Pull back - the entire chalkboard
     is filled with numbers. All watching are stunned. The
     librarian compares Pi's writing to the math book.

               It is right... He's really doing

     Students clap and cheer - even the bullies. Several chant
     along with him as he writes:

               1! 4! 9! 3! 1! PI! PI! PI!

                         ADULT PI (VO)
               By the end of that day, I was Pi
               Patel, school legend.

18   INT. PI'S KITCHEN - DAY                               18

     The writer laughs, then ventures onto a new topic.

               Mamaji tells me you're a legend
               among sailors, too. Out there all
               alone -

                         ADULT PI
               I don't even know how to sail. And
               I wasn't alone out there. Richard
               Parker was with me.

               Richard Parker...? Mamaji didn't
               tell me everything. He just said I
               should look you up when I got back
               to Montreal.

                         ADULT PI
               So what were you doing in

               Writing a novel.

                         ADULT PI
               By the way, I enjoyed your first
               book. The new one, is it set in

               No, Portugal, actually. But it's
               cheaper living in India.

                         ADULT PI
               Ah. Well, I look forward to reading

               You can't. I threw it out. Two
               years trying to bring it to life,
               and then one day it sputtered,
               coughed, and died.

                            ADULT PI
               I'm sorry.

    (Shrugs, making light of
I was in a coffee house in
Pondicherry one afternoon, mourning
my loss, when this old man at the
next table struck up a

          ADULT PI
Yeah, Mamaji. He does that.

When I told him about my abandoned
book, he said:
    (Imitating Mamaji:)
"So... a Canadian who's come to
French India in search of a story.
Well, my friend, I know an Indian
in French Canada who has the most
incredible story to tell. It must
be fate that the two of you should

          ADULT PI
I haven't spoken about Richard
Parker in so many years... What has
Mamaji already told you?

He said you had a story that would
make me believe in God.

          ADULT PI
    (Pi laughs.)
He would say that about a nice
meal. As for God, I can only tell
you my story; you will decide for
yourself what you believe.

Fair enough.

          ADULT PI
Let's see, then - where to begin?

                                CUT TO: MONTAGE
                                OF PONDICHERRY,

19   EXT. PONDICHERRY, SHORELINE 1954 - DAY                       19

     - The SHORELINE - Bicycles and pedestrians; policemen in
     round, flat-top French hats.

                         ADULT PI (V.O.)
               Pondicherry is the "French Riviera
               of India." In the streets closest
               to the ocean, you might think you
               were in the South of France.

20   EXT. ASHRAM STREET, 1954 - DAY                               20

     - Grey ASHRAM buildings, which give way to images of...

21   EXT. PONDICHERRY CANAL, 1954 - DAY                           21

     - The CANAL, and just beyond it, INDIAN PONDI.

                         ADULT PI (V.O.)
               A few blocks inland, there's a
               canal; just beyond that is Indian


     - The MUSLIM QUARTER, women in head scarves pass men baking
     flatbread over coals, the mosque in the background.

                         ADULT PI (V.O.)
               And the Muslim Quarter is just to
               the West.

18   INT. PI'S HOME - CONTINUED                                   18

                         ADULT PI
               When the French handed Pondicherry
               back to us in 1954, the town
               decided that some sort of
               commemoration was in order.

25   EXT. ZOO ENTRANCE, 1955 - DAY                                25

     The sign on the gate reads: "JARDIN BOTANIQUE DE

                         ADULT PI (V.O.)
               My father, who was a clever
               businessman, came up with one.

                         ADULT PI (V.O.) (CONT'D)
               He ran a hotel, and he got the idea
               to open a zoo in the local
               Botanical Gardens instead.

     Father oversees a SIGN PAINTER as the painter who adds the
     words 'AND ZOO' to the sign.

26   EXT. THE NURSERY - CONTINUOUS                                26

     WOMEN WORKERS plant and dig in the Botanical Gardens nursery.
     As MOTHER (refined - 20's) passes by, she admonishes a worker
     who pulls up a sapling with too much force.

                         ADULT PI (V.O.)
               As it also happened, my mother was
               a botanist in the Gardens. They
               met, married, and a year later my
               brother Ravi was born. I came two
               years after that.

27   INT. PI'S HOME, OUTER ROOM, MONTREAL - DAY                   27

               It sounds magical, growing up in-

     The Writer stops, realizing that Pi's eyes are closed in
     prayer. The Writer watches in awkward silence, his head

                         ADULT PI
               Amen. Let's eat.

               I didn't know Hindus said 'amen.'

                         ADULT PI
                   (As he serves food:)
               Catholic Hindus do.

               Catholic Hindus?

                         ADULT PI
               We get to feel guilty before
               hundreds of gods instead of just

               But you're a Hindu first?

               None of us knows God    until someone
               introduces us. I was    first
               introduced to God as    a Hindu. There
               are 330 million gods    in the Hindu
               religion - how can I    not come to
               know a few of them?

28   EXT. OUTSIDE THE PATEL HOME, 1966 - NIGHT                 28

     YOUNG PI (5) and Ravi listen to Mother quietly singing a
     gentle tune as she kneels before their home, using rice
     powder to draw a Kolam pattern - a geometric design meant to
     bring the home prosperity.

                         PI (V.O.)
               I met Krishna first...

                         MOTHER (V.O., IN TAMIL)
               Yashoda once accused baby Krishna
               of eating dirt: "Tut, tut, you
               naughty boy - you shouldn't do

29   INT. PI'S BEDROOM, 1966 - NIGHT                           29

     It is raining outside. Pan from the window; Mother lies in
     bed with Pi as they continue sharing this story for the
     thousandth time. Mother's voice plays over (Note: they speak
     in Tamil throughout the following dialogue):

               ...But he didn't!

               That's what he told her. "I didn't
               eat dirt!" "No? Well, then open
               your mouth." So Krishna opened his

     Pi opens his mouth in imitation.

                         MOTHER (TAMIL) (CONT'D)
               And what do you think Yashoda saw?

                         PI (TAMIL)

                         MOTHER (TAMIL)
               She saw in Krishna's mouth the
               whole entire universe.

30   PI AND RAVI'S BEDROOM, 1966 - NIGHT                          30

     Pi has made a tent of his blanket, a flashlight glowing
     beneath the covers. In his tent, Pi flips through the pages
     of a Hindu comic book, enthralled by the story of Krishna...

     The panels of the comic book show Krishna's mouth falling
     open, revealing stars and planets, the universe unfolding in
     wondrous detail.

34   PONDI TEMPLE COURTYARD, 1966 - NIGHT                         34

     A tank ceremony is about to begin. The tank is a square
     reservoir the size of a soccer field; Pi's family sits among
     the crowd on the steps that lead down to the water.

                         ADULT PI (V.O.)
               The gods were my superheroes
               growing up. Hanuman, the monkey
               god, lifting an entire mountain to
               save his friend Lakshmana. Ganesh,
               the elephantheaded, risking his
               life to defend the honor of his
               mother Parvati. Vishnu, the Supreme
               Soul, the source of all things.
               Vishnu sleeps, floating on the
               shoreless cosmic ocean and we are
               the stuff of his dreaming.

                   (With quiet sincerity.)
               Spectacle. Don't let the stories
               and pretty lights fool you, boys.
               Religion is darkness.

                         ADULT PI (V.O.)
               My dear 'Appa' believed himself
               part of the 'new India.' As a
               child, he'd had polio; he used to
               lie in bed, wracked with pain,
               wondering where God was. In the
               end, God didn't save him; Western
               medicine did.

     Below, Mother watches the ceremony, lost in contemplation.

                         ADULT PI (V.O.)
               My 'Amma' went to college and
               thought her family was part of the
               'new India' as well - until her
               parents cut her off because they
               thought she was marrying beneath
               her. Her religion was the only link
               she had to her past.

36   EXT. MUNNAR TEA FIELDS, 1973 - DAY                           36

     Rocky mountaintops jut up through a sea of clouds and mist.

                         ADULT PI (V.O.)
               I met Christ in the mountains when
               I was 12. We were visiting
               relatives, tea growers in Munnar.
               It was our third day there; Ravi
               and I were terribly bored.

     Ravi walks up to Pi, coins in hand, and whispers.

                         RAVI (14)
               Challenge. I'll give you two
               rupees. Run into that church and
               drink the Holy water.

37   INT. CATHOLIC CHURCH, 1973 - DAY                             37

     Pi leans down to the font beside the door and drinks. He's
     about to leave again when he notices the stations of the
     cross depicted on plaques that encircle the church.

               You must be thirsty. Here, I
               brought you this.

     Not knowing what else to do, Pi takes the glass and drinks.
     An awkward pause as he searches for something - anything - to
     say. He finally points up to one of the paintings.

               Why would a god do that? Why would
               he send his own son to suffer for
               the sins of ordinary people?

     The Priest smiles down upon Pi.

               Because He loves us. God made
               Himself approachable to us - human -
               so we could understand Him.

                         PRIEST (CONT'D)
               We can't understand God in all His
               perfection, but we can understand
               God's son and His suffering as we
               would a brother's.


                         ADULT PI
               That made no sense. Sacrificing the
               innocent to atone for the sins of
               the guilty? What kind of love is

39   EXT. PLANTATION HOME, MUNNAR, 1973 - DAY                   39

     Ravi and other kids play cricket. Pi sits by a stream, lost
     in thought.

                         ADULT PI (V.O.)
               But this Son - I couldn't get Him
               out of my head.

41   INT. CATHOLIC CHURCH, MUNNAR, 1973 - DAY 41                41

     Pi stands quizzing the priest near the altar.

               If God is so perfect and we're not,
               why would He want to create all
               this? Why does He need us at all?

               All you have to know is that He
               loves us. "God so loved the world
               that He gave His only Son." This
               Son taught us to love one

     The priest's words continue as Pi leans in, listening.

                         ADULT PI (V.O.)
               The more I listened to the priest,
               the more I came to like this Son of

42   INT. PI'S BEDROOM, 1973 - DAY                              42

     Pi kneels, smiling, in an attitude of worship.

                Thank you, Vishnu, for introducing
                me to Christ.

                          ADULT PI (V.O.)
                I came to faith through Hinduism
                and I found God's love through
                Christ, but God wasn't finished
                with me yet.

43    EXT. MUSLIM QUARTER, 1973 - DAY                             43

      As Pi wanders through the Muslim Quarter, the call to prayer
      plays out over a loudspeaker affixed to the nearby mosque. Pi
      watches as people pray.

                          ADULT PI (V.O.)
                God works in mysterious ways - and
                so it was He introduced Himself
                again, this time by the name of

      Pi crosses inquisitively up the few steps of a mosque in the
      Muslim quarter, looking inside, where dozens of the FAITHFUL
      are lined up row upon row, praying.

A43   EXT. PONDICHERRY MOSQUE, 1973 - DAY                         A43

      The speaker on top of the mosque plays the Muslim call to

44    INT. PI FAMILY HOME, 1973 - DAY                             44

      Pi is out in front of the house kneeling on a prayer mat,
      repeating a prayer. Father passes by with friends. He stops
      to watch Pi.

45    INT. FAMILY KITCHEN/DINING ROOM, 1973 - DUSK                45

      Father sits at the dinner table with his family. The servant
      offers a dish of lamb to Father only. Father pops a bite into
      his mouth, savoring it.

                This lamb is exquisite - it's best
                dish on the table. You are all
                missing out...

      As he chews, Father notices Pi completing a blessing.

          FATHER (CONT'D)
You only need to convert to three
more religions, Piscine, and you
will spend your life on holiday.

Are you going to Mecca this year,
Swami Jesus? Or to Rome, for your
coronation as Pope Pi-us?

You stay out of this, Ravi. Just as
you like cricket, Pi has his own

No Gita, Ravi has a point, no? You
cannot follow three different
religions at the same time,

Why not?

Because believing in everything at
the same time is the same as not
believing in anything at all.

He's young Santosh - he's still
finding his way.

And how can he find his way if he
does not choose a path?
    (To Pi:)
Listen: instead of leaping from one
religion to the next, why not start
with reason? In a few hundred
years, science has taken us farther
in understanding the universe than
religion has in ten thousand.

That is true. Your father is right.
Science can teach us more about
what's out there -
    (With a hand to her
- but not what is in here. Art,
music, literature - they all spring
from our faith.

                Some eat meat, some eat vegetable.
                I do not expect us all to agree
                about everything. But I would much
                rather have you believe in
                something I don't agree with than
                to accept everything blindly. And
                that begins with thinking
                rationally. Do you understand?

     Pi nods.

                          FATHER (CONT'D)


                I would like to be baptized.

     Father and Mother react. Ravi stifles a laugh.

46   EXT. PI'S STREET - DAY                                    46

     Pi walks down the front steps of his row house, stretching
     and rubbing his belly at the end of a good meal. The writer

                So you're a Christian and a Muslim?

                          ADULT PI
                And a Hindu, of course.

                And a Jew, I suppose?

                          ADULT PI
                Oh, well, I do teach a course on
                the Kabbalah at the University. And
                why not? Faith is a house with many

                But no room for doubt?

                          ADULT PI
                Plenty. On every floor. Doubt is
                useful. It keeps faith a living
                thing. After all, you can't know
                the strength of your faith until
                it's been tested.

47   INT. THE TIGER FEEDING AREA, 1973, PART 1   - DAY            47

     Pi (12) and Ravi (14) cross into a drab cement enclosure
     behind the tiger exhibit. A hallway with closed gates at both
     ends leads out to the exhibit.

               Where's Selvam? We shouldn't be in
               here without him.

               Stop worrying. I have seen him do
               this a thousand times. I want to
               meet our new tiger.

     He drops meat on the floor by the bars.


               Hello! Richard Parker!

48   EXT. MONTREAL STREET - DAY                                   48

     Pi and the writer walk along a Montreal street. The Writer
     stares at Pi, bewildered.

               A tiger? Richard Parker was a

                         ADULT PI
               He got his name through a clerical
               error. A hunter caught him drinking
               from a stream when he was a cub and
               named him Thirsty. When Thirsty got
               too big, the hunter sold him to our
               zoo - but the names got switched on
               the paperwork. The hunter was
               listed as Thirsty and tiger was
               called Richard Parker. We laughed
               about it and the name stuck.

47   EXT. THE TIGER FEEDING AREA, PART TWO 1973 - DAY             47

               Let's go. Before we get into

               I want to see him close up.

          You're not a zoo keeper. Come on!

An adolescent BENGAL TIGER appears at the other end of thE
hall. Ravi bolts, running out of the feeding area. Pi is

               (offering meat)
          That's it, Richard Parker. It's for

Pi holds the lamb through the bars, The tiger walks slowly
down the hallway, regarding Pi with a detached curiosity, as
unthreatening in his manner as a large housecat. Pi begins
trembling from sheer excitement.

He doesn't hear the approach of uneven footsteps - Father
appears, followed by Ravi. Just as Richard Parker approaches
the offering.


Father yanks Pi violently away from the cage, wrenching Pi's
hand through the bars. Richard Parker, startled, raises his
head, hissing. He turns and bounds back out through the gate
at the other end of the hallway, disappearing into the
exhibit area. Father spins Pi around and shoves him against
the wall.

                    FATHER (CONT'D)
          What are you thinking?! Are you out
          of your mind? Who gave you
          permission to come back here? You
          have just ignored everything I have
          ever taught you!

          I just wanted to say 'Hello' to

          You think that tiger is your
          friend. He is an animal, not a

          Animals have souls. I've seen it in
          their eyes.

Father turns to Ravi, who stands by the gate.

          Find Selvam!


Father, Pi and Ravi watch as Selvam carries a goat into the
feeding area.

               (In Tamil:)
          You're sure, Mr. Patel? Pi's just a

              (In Tamil:)
          Do it. Go ahead.

Selvam sets the goat down and ties a piece of rope around the
animal's neck.

                    FATHER (CONT'D)
              (To the boys:)
          Animals don't think like we do;
          people who forget that get
          themselves killed. That tiger is
          not your friend. When you look into
          his eyes, you are seeing your own
          emotions reflected back at you -
          nothing else.

Selvam ties the goat to the bars at the gate area where Pi
had been about to feed Richard Parker.

              (Quietly, to Pi:)
          Don't be stupid! Say you're sorry.

Mother arrives at the gate with a WOMAN WORKER and rushes to
Pi's side.

          What have you done, Piscine? You
          know what your father said about
          coming back here.

          I'm sorry. I was...

Mother turns to Father, quietly - referring to the goat:

          What are you thinking?

               This is between a father and his
                   (In Tamil:)
               Selvam, the gate.

               He said he's sorry. You want to
               scar them for life?

               Scar them? That boy almost lost his

               But he's still a boy!

               He will be a man sooner than you
               think, and this is a lesson I do
               not want them ever to forget.
                   (Turning to Selvam:)

     Selvam opens the far gate. Richard Parker re-enters the
     hallway. He sees the goat and slinks forward, lowering his
     body, his ears flattening against his skull. The goat
     freezes. Everyone watches in silence, transfixed by the
     intensity of the tiger. Pi watches the animal spirit glowing
     up within Richard Parker's eyes as instinct takes over.

     In a sudden, single burst, Richard Parker bolts the length of
     the hallway, claws reaching out through the bars of the cage
     toward the goat.

     We don't see what happens next - but the family does.

     ON THE CAGE: Only a few seconds have passed, but Richard
     Parker has already turned to go back into his enclosure, the
     lifeless goat in his mouth. The family watches - Father is
     impassive, Ravi traumatized; mother wraps her arms around Pi.

52   INT. PI AND RAVI'S BEDROOM, 1976 - MORNING                52

     A rainy early morning in monsoon season. Pi (now 16) lies in
     bed, reading "Notes from the Underground." Ravi is still
     asleep. The radio plays in the other room.

                         NEWS ANNOUNCER (ON RADIO)
               ... and so has placed the country
               in a State of Emergency.

                         NEWS ANNOUNCER (ON RADIO) (CONT'D)
               Under the directive, the states of
               Gujarat and Tamil Nadu will be
               placed under the direct authority
               of the central government. Police
               will be granted powers to arrest
               and indefinitely detain citizens
               responsible for the uprising.

     Ravi's alarm goes off. Ravi reaches to shut it off.

55   55 EXT. PI'S SCHOOL, PONDICHERRY, 1977 - DAY 55            55

     End of the school day. Pi, in raincoat, walks out to the
     street, where student bicycles are lined up by the hundreds.
     He gets his bike.

                         ADULT PI (V.O.)
               Things changed after the day of
               Appa's lesson. The world had lost
               some of its enchantment. School was
               a bore - nothing but facts,
               fractions and French. Words and
               patterns that went on and on. I
               grew restless, searching for
               something that would bring meaning
               into my life. And then I met

59   I/E. DANCE STUDIO, PONDICHERRY, 1977 - DAY                 59

     CLOSE ON ANANDI (15) radiant, graceful, eyes aglow, dancing
     with passionate intensity.

                         ADULT PI (V.O.)
               Mother made me study music, and one
               day my teacher came down with the
               flu; he asked if I could take his
               place one afternoon playing rhythms
               for a dance class.

     Pi watches her, hopelessly in love, absent-mindedly drumming
     along. He is drumming for a class of a dozen female students;
     a DANCE MASTER (female) accompanies the beat vocally -
     "Tumtikita..." etc. The dance master claps her hands,
     interrupting to teach.

                         DANCE MASTER
               No. If you do not concentrate, you
               cannot express your love of God
               through dance. Feel the ground
               beneath your feet;

                         DANCE MASTER (CONT'D)
               open your gaze out onto the
               horizon, let that spiritual energy
               pulse through you and out into the
               world through abinea. Anandi, come
               to the front; lead them.

     Anandi obeys; Pi watches her, lost in admiration, until the
     teacher taps a wood block to get his attention. The girls in
     the class giggle - Pi blushes, embarrassed.

60   I/E. THE TOWN MARKET/THE BANYAN TREE, 1977 - DAY             60

     Anandi walks with two of her FRIENDS through the town
     market.ACROSS THE MARKET, Pi hides behind a flower seller's
     stall. Gathering his courage, he peers out, searching for
     Anandi. She is nowhere to be seen. He walks into an open area
     of the market that surrounds a banyan tree. Suddenly, he
     hears a voice behind him.

               Why are you following me?

     Pi turns - Anandi stands before him, her friends a short
     distance behind her, eavesdropping.


               You were following me.

                   (After a beat, to cover
                    his evident guilt:)
               What does this mean?

     Pi vaguely imitates the hand gesture - pinching the tips of
     his fingers together - that he saw Anandi use in the dance
     rehearsal. Anandi stares at him, bewildered.

                         PI (CONT'D)
               In the dance, you went from Pataka,
               which means the forest, and then
               you did-then you did Samputa, which
               means something that is hidden, and
               after that you did this... and then
               you did Chatura.

     Pi demonstrates her dancing. Anandi smiles, while her friends
     giggle at his performance.

                           PI (CONT'D)
                 But at the very end you did this...
                     (Repeating the gesture:)
                 None of the other dancers did that.
                 What did you mean? The God of love
                 is hiding in the forest?

                 No - that also means the lotus

                 The lotus flower is hiding in the
                 forest? Why would a lotus flower
                 hide in the forest?

     Anandi blushes. She has no answer.

62   EXT. THE ZOO EXHIBITS, 1977 - DAY                            62

     Pi and Anandi stand at the Bengal Tiger cage, Pi proudly
     introducing Anandi to the zoo's finest exhibit.

                 And this is Richard Parker. He's
                 the most magnificent creature we've
                 ever had here.
                 Look at the way he's turning his
                 head. Showing off - like a dancer.

                 No, he heard something - he's
                 listening. You see?

     Pi beams.

64   INT. PATEL DINING ROOM, 1977 - DUSK                          64

     Pi sits at dinner with the family, a half-smile on his face,
     obviously lost in thoughts about Anandi. Father's voice
     gradually breaks through into Pi's consciousness.

        see? We have talked about
                 it for some time... Do you
                 understand what I'm saying? Pi?

     Pi glances over.

                 Sorry. You've been...

          Worried. For my family. Our animals
          are worth far more abroad than here
          in India, and if the town council
          stops supporting us, I don't know
          where we'll be. So... it is what we
          have to do. Do you understand?

          I'm sorry... what are we talking

          We are leaving India.


          We are selling the zoo.

          The zoo itself was never ours to
          sell - the land belongs to the
          town. But the animals are ours, and
          if we sell them, we will have
          enough to start a new life.

          But where would we go? Our life is
          here Appa!

          Canada. I have some opportunities
          for work in Winnipeg. I'll be
          shipping most of the animals for
          sale in North America; we can get
          freighter passage for the whole
          family. So, it is settled. We will
          sail like Columbus!

          But Columbus was looking for India!


Pi and Anandi sit together on the crossbeams beneath the
dock. Anandi takes a length of colored silken threads, tying
them around Pi's wrist to serve as 'Rakhi' - a sisterly
blessing for protection on his journey.

                         ADULT PI (V.O.)
               It takes a lot of work to sell a
               zoo; before we left Anandi and I
               had time enough to break each
               other's hearts. Of course, I
               promised I'd come back one day...
               It's funny... I remember everything
               else about our last day, but I
               don't remember saying goodbye...

     As she finishes, Pi reaches out impulsively to hold her hand.

67   EXT. CARGO SHIP DECK, 1977 - DUSK                         67

     Sunset. Pi stands at the railing of the cargo ship, staring
     out at the Chennai shoreline. Mother approaches.

               Pi, they're serving dinner below.

     Pi doesn't respond. Mother approaches and stands beside him.

                         MOTHER (CONT'D)
                   (After a beat.)
               Piscine, You have a whole life
               ahead of you. We're doing this for
               you and Ravi. Come inside and have
               some dinner.

68   INT. THE TSIMTSUM, MESS HALL, 1977 - DAY                  68

     The family stands in the mess hall line along with the CREW.
     The FRENCH COOK, a grizzled and thoroughly unpleasant man,
     loads a plate and slides it over the counter to Mother. The
     meal consists of liver and onions, sausages, and rice soaked
     in gravy. Mother points at her rice.

               My sons and I are vegetarians. Do
               you have anything - ?

     The French Cook ladles ore gravy over her rice.

                         MOTHER (CONT'D)
               No - no! Not more gravy.

                         FRENCH COOK
                   (Thick French accent:)
               You don't want gravy?

              (Quickly switching to
          No, I want something vegetarian. I-

The cook takes her plate, sets it on the counter in front of
Father. The following takes place in French (subtitled).

                    FRENCH COOK
          There. No problems.

          She asked if you have something

                    FRENCH COOK
          Vegetarian - the cow that produced
          this liver was vegetarian, the pigs
          that went into these sausages were

          Very funny. But she doesn't eat

                    FRENCH COOK
              (Getting irritated:)
          Then she can eat the sausages, the
          rice, the gravy.
              (To Mother:)
          Or you can go cook your own food.

          How dare you talk to my wife like

The cook shoves a plate of plain rice over the counter.

                    FRENCH COOK
          Here's your rice. I cook for
          sailors, not curry eaters.

Father grabs the cook's forearms, yanking him halfway over
the high counter.

          What did you call us??

                    FRENCH COOK
          Let go of me!

          Who do you think you are? You're
          nothing but a servant!

                         FRENCH COOK
               I feed people! You feed monkeys!

               I'll teach you respect!

     Sailors descend on the two, pulling them apart.

                                                     A SHORT TIME
                                                          LATER -

69   INT. THE TSIMTSUM MESS HALL, 1977 - DAY                        69

     The family sits eating silently in the aftermath of the
     scuffle. A TAIWANESE SAILOR comes alongside Pi carrying a
     plate of rice with gravy. He speaks with a Taiwanese accent
     and a gentle smile.

                         TAIWANESE SAILOR
               Hello, I am happy Buddhist, so I
               eat rice next to gravy. On ship,
               gravy is not meat. Is taste. Okay?
               You try?

     Pi smiles in gratitude, but the gravy looks anything but

70   INT. TSIMTSUM CARGO HOLD, 1977 - DAY                           70

     Pi eats a banana from the food set aside for the animals in
     the cargo hold. He sits next to the transport cage of ORANGE
     JUICE, a female orangutan with a baby orang in her arms.
     Animal crates and cages surround Pi, the air filled with
     screeches and growls.

     Father enters the hold, carrying food for the animals.

                   (Noting Pi's banana:)
               Don't worry - we will have plenty
               of fresh supplies after we stop in

     Father mixes tranquilizer pills into food for the orangs.

               Why give O.J. a tranquilizer? She's
               not going to cause any trouble.

               The stress of traveling is not good
               for the animals.

                         FATHER (CONT'D)
               And it helps with the seasickness.
               We don't want to be cleaning up
               after a seasick orangutan, do we?

     Pi looks up, notices Father watching him.

     Father tries to smile along with his little attempt at humor,
     but his manner is stiff, his eyes furtive and uneasy.

                         ADULT PI (V.O.)
               My father was a businessman - he
               had never handled the animals
               himself. I realized that leaving
               India must have been harder for him
               than it was for me.

71   EXT. MONTREAL GARDENS - DAY                               71

     Adult Pi and the Writer sit on a bench in the gardens. Pi has
     fallen silent, reflective.

               ... So...

                         ADULT PI
               Have I forgotten anything?

               I think you've set the stage. So
               far we have an Indian boy named
               after a French swimming pool on a
               Japanese ship full of animals
               heading to Canada.

                         ADULT PI
               Yes. Now we have to send our boy
               into the middle of the Pacific, and

               And make me believe in God.

                         ADULT PI
               Yes. We'll get there.


     Moving in on the Mariana Trench, an ominous gash of darkest

                         ADULT PI (V.O.)
               It was four days out of Manila -
               above the Mariana Trench, the
               deepest spot on earth...

     Zoom closer until the blue fills the screen...

                          ADULT PI (V.O.)
               Our ship, the Tsimtsum, pushed on,
               bullishly indifferent to its
               surroundings. It moved with the
               slow, massive confidence of a

                                                    DISSOLVE TO:

73   EXT. THE TSIMTSUM - NIGHT                                     73

     Lightning and thunder. The freighter sailing in ominous
     weather, the name Tsimtsum emblazoned on its hull. Choppy
     seas, rains, a storm.

74   INT. CARGO SHIP, THE FAMILY CABIN - NIGHT                     74

     Darkness - the faint glow of a nightlight. Close on Pi's
     sleeping face, the cabin swaying in the storm.

     BANG. A loud, deep rumble breaks into his consciousness. The
     ship shakes. Pi's eyes open. He looks around, listens.
     Nothing. He leans over the side of his bunk and wakes Ravi.

               Ravi? Did you hear that?

               ... I'm sleeping.

               It's a thunderstorm! Let's go

               Are you crazy? We'll get hit by

               No, we won't. It'll hit the bridge

               Don't tempt a storm, Pi.

     On the other side of the narrow room, Mother shifts
     uncomfortably on the double bed she shares with Father.

75   INT. SHIP HALLWAY - CONTINUOUS                               75

     Pi heads upstairs to the deck.

76   EXT. THE CARGO DECK - CONTINUOUS                             76

     The deck of the ship is dark. Pi steps out into a bracing
     rain and walks to the rail, wind whipping his hair. He
     laughs, exhilarated, as rain splashes over his face. Throwing
     arms wide, Pi dances in imitation of Anandi's dance, slipping
     more than once on the rain-soaked deck, shouting in giddy
     adolescent triumph.

               More rain, lord of storms! Let it

     He finishes, laughing as he falls against the railing. The
     deck lights suddenly all come on at once; a warning alarm
     sounds over the loudspeakers.

     Pi slips to the front of the deck and stands up, watching in
     horror as a wave washes over the bow, carrying several
     sailors overboard. He pushes himself away from the railing
     and runs back down below.


     Pi stumbles down the tilted staircase.

               AMMA! APPA! RAVI! GET OUT, GET OUT!

     Halfway down, Pi hits water. He dives, searching for his
     family. The hall lights flicker - the passage falls dark an
     instant before the emergency lights come on in the water
     below, which nearly reaches the ceiling. Pi dives, trying to
     swim against the flowing current; he's astonished to find a
     ZEBRA swimming toward him, passing overhead. He tries to swim
     further, but the enormous force of rushing water and air is
     too great; he scrambles backward, groping toward the


Pi bursts on deck, coughing and gagging for air.


Pi sees movement - animals running. He scrambles toward them,
the ship groaning as it lists sideways.

Oxen and deer are visible on the far side of the deck,
backlit by emergency lights; Pi hears monkeys screeching, the
clatter of hoofs pounding. In the distance, Sailors shout
orders in panicked voices.

Pi comes onto the lower deck, where he sees three men - the
Buddhist (Taiwanese Sailor) from the dining hall; the
JAPANESE CAPTAIN, and SAILOR #1 - arguing with the French
cook, who has climbed into the stern of one of the lifeboats
that hangs off the side of the ship. Pi runs to the Captain.

                    PI (CONT'D)
          Please save my family!

                    JAPANESE CAPTAIN
          Don't scare. Okay? Wait stay here.

He grabs a life vest and starts to put it on Pi.

                    JAPANESE CAPTAIN (CONT'D)
          Here, put this on!

          You have to help them, please! Oh
          no my family, please. You have to
          help them, my family is back there.

                    JAPANESE CAPTAIN
          We don't have time.

The Taiwanese Sailor jumps onto the ship.

                    TAIWANESE SAILOR
          We help. You must go.

          Who let all the animals out?

They shove a life vest over Pi's head.

                    SAILOR #1
          You have to go now.

          No wait! My father - he can't swim -

                    JAPANESE CAPTAIN
          This is your last chance--just go!

          No please!

They guide Pi to the side, where a section of the ship's
railing has been removed to give access to the lifeboat. They
push Pi over the edge; Pi falls onto the lifeboat, bouncing
on the protective tarp that is still stretched taut across
the bow. He grabs at the rope holding the bow, trying not to
slip off. The sailors are shouting at the French cook, who
stands at the stern.

                    SAILOR #1
          Hey! You! What are you doing?!

                    FRENCH COOK
          Loosen the lines! Bring it down!

                    SAILOR #1
          Tie it down! Tie it down!

                    FRENCH COOK
              (to the sailors:)
          Jump! Jump!

The sailors look towards the upper deck. Pi follows their
looks and watches in horror as a zebra launches itself over
the side of the ship, careening through the air toward the
safety of the lifeboat. The French cook staggers backward and
jumps out of the way, falling to the water below. Pi throws
up his arms as the life boat starts to drop. The zebra arcs
through the air, missing the tarp, landing on the exposed
stern with a sickening thud, shattering the rear bench. The
force sends the rig lines spinning.

The lifeboat plummets to the water below. The impact spins it
around, nearly washing Pi overboard. He is left clinging to
the back of the tarp, the zebra on the floor of the lifeboat
before him. As the lifeboat drops down the side of the swell,
Pi slides to the front of the tarp. The Tsimtsum's propeller
rises behind him.

As Pi steadies himself, a swell lifts the lifeboat, crashing
it onto the deck of the Tsimtsum. It drops back into the sea,
rolling over completely. The vessel instantly rights itself -
the lifeboat is designed to be virtually unsinkable. Pi lands
on the lifeboat's floorboards, next to the zebra.

     Pi sees the Tsimtsum at an angle, it's bow dipping below the
     water. As he tries to get up, Pi notices the orange emergency
     whistle that dangles from the vest. He grabs it and blows,
     shouting between blasts.

               HELP! HELP! SOMEBODY, HELP ME!

     The deck lights of the freighter glow with a cheery,
     unnatural brilliance. By the light of the ship, Pi can just
     make out a distant figure in the water.

                         PI (CONT'D)
               HEY! OVER HERE!

     Pi spies a lifebuoy tied to a rope. He grabs it and heaves it
     as far as he can across the water. OUT IN THE WATER, the
     lifebuoy splashes a few yards away from the shadowy figure.

     The moment Pi feels the tug on the line, he jumps into the
     uncovered part of the boat, lies back and begins hauling the
     rope in. Nearly finished, he lifts his head to peer over the
     side and sees who he's rescued.

                         PI (CONT'D)
               Richard Parker?

     A beat - and then Pi realizes what he's done. He scrambles
     backward in horror, trying to throw the rope overboard.

                         PI (CONT'D)
               NO! GO AWAY!

     Richard Parker paddles toward the boat. Pi grabs an oar,
     wielding it against the approaching tiger. Richard Parker
     tries to grab the oar. Pi yanks the oar away, falling onto
     his back.

     He listens as Richard Parker claws his way up the side of the
     swaying boat, coughing and gagging water. Pi scrambles
     backward, oar still in hand. He rises and jumps overboard.

79   EXT. THE OCEAN - CONTINUOUS                                  79

     Pi plunges into the roiling water. An enormous wave rolls
     toward Pi - filling his lungs with air, Pi dives under, away
     from the assault of the raging storm.

80   EXT. BENEATH THE WATER - CONTINUOUS                          80

     Silence as Pi hangs below the surface, arms wide, groping for
     focus and calm.

     Lightning casts a blazing white veil over the surface of the
     water above him, backlighting fish and animals, waves frozen
     in time like wrinkled bedsheets, their motionless texture
     pocked and dimpled with raindrops. As the sky explodes in
     white flashes, the scene is caught in surreal still shots.

     A hippo swims past, it's heavy form moving gracefully.

     Pi swims toward the camera - then freezes, reacting in horror

     A shark swoops past him and up toward the struggling animals
     near the surface. Pi dives defensively - the camera follows.
     Ahead, the Tsimtsum is visible, fifty feet beyond Pi, its
     deck lights dipping below the surface, casting an eerie
     underwater glow, bubbles flowing up to the surface; nearby,
     Pi can make out the floating oar.

81   EXT. THE OCEAN/THE BOAT - CONTINUOUS                       81

     Pi bursts above water in total panic, throwing his arms
     around the oar, coughing up sea water and bile. The lifebuoy
     floats a dozen feet off; he swims toward it. He grabs the oar
     moments before a huge wave sweeps him up and over the
     lifeboat. He lands on the other side, the oar lost, and drags
     himself onto the stern. He jumps over the kicking zebra and
     scrambles onto the boat tarp.

     An oar sticks out from under the boat cover, hanging out over
     the front of the lifeboat. Pi climbs out on the oar, keeping
     himself a safe distance from the tiger he assumes is beneath
     the tarp. The air vibrates with a tremendous belching groan;
     Pi looks over to the cargo ship, watching, astounded...

               Amma! Appa! Ravi! I'm sorry! I'm

     WIDE SHOT - from top, looking down into the water: the
     Tsimtsum abruptly keels and sinks beneath the surface. Pi
     watches in horror as the Tsimtsum plummets into the depths of
     the Mariana Trench, it's deck lights gradually fading. Pi
     bursts into tears as waves from the sinking vessel buffet his

     Pi weeps uncontrollably.


     The storm has passed, but the skies are still heavy with
     disgusting grey clouds. Pi has hung the lifebuoy on the oar
     and now sits on it, slumped in exhaustion and shivering.

With what energy he still has, he weeps - his face is puffy
and swollen from a night of tears.

Pi watches a shark fin knife through the waves. His feet have
been trailing in the water; he quickly lifts them out. He
raises his head, looking at his new surroundings - water and
air, clouds and sky. Nothing on the horizon.

Pi creeps forward on the oar, pulling himself onto the
gunnels - the side of the boat. No sign of Richard Parker.

The zebra comes into view in the stern of the lifeboat,
injured legs folded beneath it, staring indifferently into

                                                  CUT TO:


Pi stands a few feet away from the zebra, using an emergency
bucket to bail water out of the bottom of the boat, exhausted
from the effort. He pauses to catch his breath, then becomes
aware of a slight movement at one side of the tarp.

A SPOTTED HYENA lurches furtively into view from beneath the
tarp, then disappears again. Pi freezes, dumbfounded.


Hari, the hyena, with a sloping, bear-like forehead and the
nervous manner of a beaten dog, reappears. Pi instantly dives
across the tarp, scrambling for safety on the oar. The hyena
staggers and stumbles listlessly. Pi turns to face the
creature, struggling for calm.

                    PI (CONT'D)
          Looks as though your drugs haven't
          worn off yet.

The screech of a terrified animal echoes across the water -
the hyena looks out to port, the hair rising on its back,
then staggers beneath the tarp.

Pi squints into the rising sun. An enormous bundle of bananas
bobs into view. The bundle twists and rolls - and Orange
Juice, the orangutan tries desperately to stay on top.

                    PI (CONT'D)
          Orange Juice!! This way!

     Within moments, the bundle is within reach of the lifeboat;
     Pi catches the oar handle in the netting that binds the
     bananas together and pulls it against the side of the boat.
     O.J. falls onboard in a stuporous fog.

                         PI (CONT'D)
               Welcome to Pi's ark!

     The netting, wrapped around the handle of the oar, pulls
     loose from the bananas, which tumble out of reach. As Pi
     reels the netting in, O.J. moans in distress. Pi throws a
     banana to O.J. but she is too sick to react.

                         PI (CONT'D)
                   (A sudden realization)
               Where is your boy, Orange Juice?
               I'll bet Mother and Father found
               him. They'll all be here soon.

     O.J. turns to look at Pi, a look of inconsolable sadness in
     her eyes - as though she knows better what lies ahead.

84   EXT. THE LIFEBOAT - DAY                                     84

     High noon. Intolerable heat. Flies circle the zebra, landing
     on Pi's face and arms. He's too exhausted to brush them away.
     The only sound is the incessant lapping of water against the
     hull. Pi stares out across the ocean - no rescue in sight. He
     pushes himself upright, calling over the waves.

               HELLO...! HELLO...! ANYBODY?

     Pi kneels and bangs his bailing bucket against the hull. The
     hyena emergees, shaking its head violently in an attempt to
     clear its thoughts. It screams in frustration and begins
     yipping. Pi picks up the oar and pokes the hyena to fend it
     off. He watches with increasing alarm as the hyena paces in
     frantic circles - whatever tranquilizers this animal received
     are wearing off. The boy wraps his grip around the paddle,
     prepared to defend himself.

     The hyena abruptly stops pacing, coughing and retching - then
     lies down, shaking from emotional and physical distress. It
     sets its head on the edge of the tarp, predator eyes fastened
     on Pi.

85   EXT. THE LIFEBOAT - DUSK                                    85

     A boy, a hyena, a zebra and an orangutan silhouetted against
     the last fading light of day.

     Pi has hung the paddle and lifebuoy off the end of the boat
     and perches on the bow. The hyena's eyes seem to glow in the
     last light, fixed on Pi. Pi stares back.

     Pi fights fatigue as waves splash interminably against the
     hull. He winces at each creak of the lifeboat; his eyes glaze
     over as he stares out at the endless, dusky seascape. Pi sees
     movement in the shadows. The hyena attacks the zebra; the
     zebra barks and squeals. O.J. reacts to the violence, crying

               No! Stop it! Stop it! No! Stop it!
               Stop it! NO!!! NO!!! NO!!!

86   EXT. THE LIFEBOAT - DAWN                                     86

     Silence. Morning. Hazy. Pi slumps over the oar, eyes half
     open, glazed. He has stayed up a second night for fear of
     being attacked, and now he slowly nods sideways, giving in to
     exhaustion despite himself, and tumbles into the water.

     Pi gasps in shock as the water slaps him into full
     consciousness. He climbs back onto the life ring - coughing,
     tired, wet, sad and fearful.

     The lifeboat rolls and growls beneath Pi's feet as he stares -
     and then he notices O.J. The poor orang is sitting on a side
     bench half-hidden by the tarp, and horribly seasick. Her
     tongue lolls out of her mouth and she's visibly panting.

               I'm sorry, O.J.; I don't have any
               seasickness medicine for you -

     And then it strikes him.

                         PI (CONT'D)
               Supplies! Ah, supplies!

     Pi pulls up the edge of the tarp nearest the bow. A row of
     benches with hinged lids curve around the bow. Pi opens the
     rearmost bench and finds a "LIFEBOAT MANUAL AND NAVIGATIONAL
     GUIDE" in a plastic bag along with a pencil lying on top of
     bags of supplies. He pulls out the manual and flips through
     it - an illustration shows that the boat is lined with
     compartments. He opens the next bench - it's stuffed with
     life jackets.

     He tosses one of the life jackets to O.J., who has no idea
     what to make of it. O.J. turns to watch him, utterly


     An hour later. Pi finishes tying a knot in a piece of rope
     that joins oars to the lifebuoy. Pull back to reveal that Pi
     has built a makeshift raft, tying three oars into a triangle
     around the lifebuoy and using the banana net to gather the
     life vests into a bunch beneath.

     Pi sits back, mopping his brow, then begins pushing and
     dragging his raft over to the edge of the lifeboat to launch

     The hyena comes out from under the tarp to see what all the
     noise is. As it paces, it gets too close to O.J., who
     suddenly comes to life, rising up to her full height, pulling
     back her lips and roaring. The hair on the hyena's neck and
     shoulders stands up - suddenly, it launches an attack. Pi
     cries out, flinching - but O.J. uses one of her long arms to
     thump the beast on top of the head.

     Pi cheers the blow -


     But the hyena gets up in an instant - it attacks again, this
     time going for O.J.'s throat.

                         PI (CONT'D)
               NO!! NO!! NO!! NO!!

     O.J. gets pulled down to the floor of the boat, the battle
     continuing out of view. Pi searches through the piles of
     rope, finding a knife. He rises and dashes forward.

     Pi reaches the end of the tarp. The hyena retreats. O.J. lies
     in the stern, dead.

     Pi, enraged, confronts the hyena.

                         PI (CONT'D)
               Come on! Come on!! COME ON...!!!

     Pi feels the tarp move under his feet... suddenly, Richard
     Parker launches like a blur from under the canvas, going
     straight after the hyena. Pi falls backward on the tarp,

     As the tiger clamps his jaws around the hyena, finishing it
     off, Pi leaps back to the bow, shoving his makeshift raft
     into the water. The raft splashes in the water and the tiger
     turns; Pi looks back and comes face-to-face with Richard

      The tiger stands with front feet on the crossbench, sniffing
      the sea air, examining his surroundings for the first time,
      agitated by this open air environment. As he turns to go back
      under the tarp, his gaze falls on Pi. Richard Parker's ears
      swivel, and his lip twitches, revealing a canine as long as a

      Pi, terrified, grabs an oar and holds it out, trying to
      prevent an attack. Unfortunately, he also blocks Richard
      Parker's path back under the tarp. The tiger tries to go
      around the oar, and when Pi blocks his way, the tiger swings
      a paw, knocking the oar into the ocean with such force that
      Pi is spun completely around with his back to the tiger. He
      falls into a crouch, cowering, prepared to die.

      Richard Parker's predator instinct takes over. He snarls and
      pounces on the tarp, menacingly close to Pi - then hesitates,
      unsettled by the softness of the tarp beneath his feet. The
      tiger retreats, examining his surroundings.

      Pi jumps toward the raft. He belly flops into the ocean and
      rises in a panic, trying to scramble up onto the raft, only
      to have it flip completely over his head.

A88   EXT THE RAFT - DAY                                         A88

      Grey, lifeless skies above the vastness of the ocean. Pi
      shivers, his eyes glassy, his lips chapped and skin waxen
      from hours of exposure. He tries various ways to re-shape the

      A shark slips up alongside Pi and bumps him, sending Pi
      scrambling back to the safety of the raft.

91    EXT. THE LIFEBOAT - DAY                                     91

      Pi pulls the raft to the back of the lifeboat, tying the rope
      line on one of the tarp hooks. Hands appear on the gunnels.
      Pi lifts his head over the bow. The tiger is nowhere in
      sight. Pi quietly climbs aboard. He tries in vain to control
      his chattering teeth and shaking limbs as he opens the
      starboard bow storage bench.

      He sees a duffel bag, zips it open and rifles through the
      contents. It contains an array of survival supplies - as he
      lifts it out, his eye falls upon a stack of cans marked
      "Water." He pops a hole in a water can with the can opener
      and drinks one, tilting his head back and closing his eyes in
      ecstasy. He throws a few on the raft. He grabs a couple of
      boxes marked "Baked Wheat Biscuits." Pi tears open a box and
      stuffs a biscuit into his mouth.

The biscuits are so dry that he is barely able to chew them -
crumbs fall from his lips into the supply hatch.

A rat skitters out from under the tarp, grabbing biscuit
crumbs, then retreating.

A low growl. Richard Parker charges out from his den and
bounds onto the tarp. Pi staggers in terror and falls
helplessly into the storage bench, with only his head poking
out above the tarp.

The tiger steps toward Pi, then hesitates - again, the
softness of the tarp unnerves him. He steps back off the tarp
and paces the stern.

Pi creeps out of the storage bench - then watches in horror
as Richard Parker swivels and charges him again, this time
beneath the tarp. The rat scurries back out of hiding and
Richard Parker's head follows, looming up out from the gap
between the tarp and the storage bench. Pi jumps onto the
tarp, out of the tiger's reach.

Richard Parker scrambles backward and reappears at the far
end of the tarp, roaring, prepared to attack from above -
then halts, watching in astonishment as the rat hops around
the lifeboat, finally running up Pi's shirt and landing on
Pi's head.

Pi grabs the rat by the tail and throws it. The rat sails,
paws and tail stretched wide, across the boat. Richard Parker
opens his mouth and the rat flies in, its tail disappearing
between the tiger's lips like a spaghetti noodle.

As Richard Parker enjoys his treat, Pi climbs backward over
the bow, unhooking the rope, grabbing the water cans and the
biscuits and slipping over the side, falling into the water.

He drops onto the raft and pushes himself back with his feet.
The raft floats back and hits the end of the ropeline with a
jerk. Pi remembers the rope and goes back to untie it.

Suddenly Richard Parker appears at the bow and lunges at him,
almost falling off the front of the lifeboat onto Pi. The
tiger scrambles back onto the boat and off the tarp, while Pi
paddles the raft away.

When he is finally at a safe distance, fear and stress
overwhelm Pi - he throws up what little food and water he has

92   EXT. THE RAFT, BEHIND THE LIFEBOAT - NIGHT                  92

     A full moon, backlit clouds rolling through the skies,
     reflected in the water below. Pi floats behind the lifeboat,
     weeping, surrounded by nothing but terror and the abyss. A
     thick range of clouds moves in, threatening to cut off the
     light from the moon and stars.

     Pi watches Richard Parker on the lifeboat, a shadowy
     silhouette on the bow ahead. The tiger takes the zebra
     carcass under the tarp. The clouds blot out the sky. Darkness
     envelops them.

93   EXT. ABOVE THE RAFT - EARLY MORNING                         93

     Angle on Pi, the raft and boat from above, lost on an endless
     ocean, the bright colors of morning light dancing on the
     surface of the water.

     Pi has taken out his pencil and now writes on the back page
     of his survival manual, his voice heard over:

                         PI (WRITING V.O.)
               "My name is Pi Patel. I have been
               in a shipwreck. I am on a lifeboat
               alone - with a tiger. Please send

     He tears the page out and stuffs it into an empty water can,
     sealing the opening with a plastic lid. He tosses it as far
     as possible; the can splashes down, rippling the water, then
     bobs, going nowhere. Pi stares at the bobbing can, crushed as
     he sees the futility of this plan.

     A defeated pause, and then Pi looks up and sees the majesty
     of his surroundings. The cloud cover breaks; dawn light glows
     down on Pi.

     A grunt from the lifeboat. Pi turns, surprised. He grabs the
     tow line and reels into the lifeboat.

     He lifts the tarp; Richard Parker's eyes glow out at him from
     the shadows, greeting Pi with a low snarl. Pi gingerly lowers
     the tarp and casts the raft back from the bow. He looks up.

                         PI (CONT'D)
                   (In awe, shuddering:)
               God... I give myself to you. I am
               your vessel. Whatever comes... I
               want to know. Show me.

                                                      FADE TO:


      Pi sits on his makeshift raft, flipping through his manual.
      The foldout map of the manual shows the ocean's currents,
      longitudes, latitudes, and depths. Pi stares at the chart,
      bewildered by it all. He rises up on his knees, looking out
      at the ocean around him, then sits back, hand to forehead.

                There are no lines!

      95 EXT. THE RAFT - DAY - MONTAGE 95

      Montage - Pi struggling with discomfort on his raft.

                          PI (READING - V.O.)
                "Set your house in order and dig in
                for the battle to survive.
                Establish a strict schedule for
                eating, keeping watch and getting
                rest. Do not drink urine or sea

                Keep busy, but avoid unnecessary
                exertion. The mind can be kept
                occupied by playing card games,
                Twenty Questions, or I Spy.
                Community singing is another sure-
                fire way to lift the spirits.
                Telling stories is highly
                recommended. Above all, don't lose

      - Pi scratches marks into the side of the boat to indicate
      the passage of time - it is his 11th day at sea.

A96   EXT. THE RAFT - A SHORT TIME LATER                       A96

      Pi is still reading his survival manual. The waves pick up.
      The lifeboat rocks. Somewhere beneath the tarp, the tiger
      lets out a faint groan of discomfort. On Pi as he
      contemplates this...

                          PI (READING V.O.:)
                "Few things can sap the spirit
                faster than seasickness. Waves are
                more strongly felt when a boat
                turns sideways to the current. A
                sea anchor is used as a drag to
                keep the boat's head to the wind.

                         PI (READING V.O.:) (CONT'D)
               Proper use of them can increase
               control and reduce seasickness
               during rough seas...

     Pi takes a sea anchor from inside his life ring and tosses it
     overboard. As soon as the sea anchor has been deployed, the
     raft slows down and the anchor lines go taut.

97   EXT. RAFT - DAY                                           97

     Pi has rigged an additional line between the open end of the
     lifeboat and his raft.

                         PI (READING V.O.)
               For castaways who must share their
               lifeboats with large dangerous
               carnivores it's advisable to
               establish a territory as your own.
               The following course of action is
               Step one: choose a day when waves
               are moderate but regular.
               Step two: with the lifeboat facing
               into the waves, making the ride as
               comfortable as possible, blow your
               whistle soothingly.
               Step three: turn the lifeboat
               sideways to the waves, accompanied
               by harsh aggressive use of the
               whistle. With sufficient
               repetition, the animal will
               associate the sound of the whistle
               with the discomfort of seasickness.
               Similar methods have long been used
               by circus trainers, though they
               generally lack access to rough

     He reels in this line, turning the boat sideways to the
     waves. The rocking increases. Pi blows the whistle several
     times harshly ("warning" signal) as the rocking increases.
     From within the boat, he hears the tiger groan. He grabs the
     original lifeline that connects the raft to the boat and
     hauls himself in. Pi grins, spits out the whistle.

                         PI (CONT'D)
                   (A ringmaster's call:)
               Let the trumpets blare, let the
               drum rolls begin! Prepare to be
               amazed! Here it is, for your
               enjoyment and instruction, the show
               you've been waiting for all your
               life will soon begin!

                          PI (CONT'D)
                Are you ready for the miracle of
                it? Well, then - I give to you...

      Pi lets go of the second line, raising his hand with a

                          PI (CONT'D)
                ... the ASTOUNDING BENGAL TIGER!

      He pulls the raft next to the tarp end of the lifeboat. The
      tiger crawls out from under the tarp, violently ill.

                          PI (CONT'D)
                    (Rocking the boat:)
                Hello, Richard Parker. Sorry about
                the choppy ride.

      Pi pulls himself onto the bow. Richard Parker tries to lift
      his head, then groans, giving it up. Pi lifts the whistle to
      his mouth and blows it repeatedly as he advances to the front
      edge of the tarp, opens his fly and pisses in a straight line
      across the midpoint of the boat.

                          PI (CONT'D)
                    (He blows his whistle)
                You understand?

      He steps back to observe the effect of this provocation on
      the seasick tiger. Richard Parker staggers to the edge of the
      tarp. He takes a deep sniff and winces, groaning, his tongue
      hanging out in distaste. The tiger turns away from Pi, facing
      the stern. Pi thinks the battle is won - until the tiger
      lifts his tail and sprays him with a tremendous burst of

                          PI (READING V.O.) (CONT'D)
                Step four: disregard steps one
                through three.

A97   EXT. THE RAFT - AFTERNOON                                 A97

      Pi pulls in the solar still. Pi bends down to suck fresh
      water from the straw that protrudes from a water still,
      delighted to discover that it works. He carefully pours some
      of the water into a can for himself, then pours the rest into
      a bucket.


      Pi pulls himself up to the bow of the lifeboat, sets a bucket
      of water in the boat and blows his whistle. Richard Parker
      sticks his head out from under the tarp.

                Here, Richard Parker. I've got some
                water for you.

      Pi blows the whistle once more, casting the raft adrift
      again. Richard Parker sniffs, then begins lapping greedily at
      the water.

103   EXT. RAFT - INSERT                                         103

      INSERT of Pi writing in manual - text on page reflects Pi's
      accompanying V.O.

                          PI (VO)
                In the zoo, we fed our tigers an
                average of five kilos of meat a
                day. Richard Parker will be getting
                hungry soon.

104   EXT. RAFT - CONTINUOUS                                     104

      Pi chews for a moment, then spits out a blob of biscuit and
      presses the food ball onto his hook, savoring the crumbs that
      remain in his mouth. He tosses the hook and biscuit onto the
      water - the hook sinks, leaving the crumble of biscuit
      floating uselessly on the surface. Pi watches helplessly as
      fish rise to the surface to nibble at the soggy crumbs.

                          PI (V.O.)
                Tigers are powerful swimmers, and,
                if he gets hungry enough, I'm
                afraid the little bit of water
                between us won't be any protection.
                I need to find a way to feed him.
                God made tigers carnivores, so I
                must learn to catch fish. If I
                don't, I'm afraid his last meal
                will be a skinny vegetarian boy.

      Pi thinks a moment. He takes off one of his shoes, using the
      knife to cut a sliver of leather off the side. He presses the
      hook through the leather and tosses it in the water. Pi pulls
      in his fishing line - the leather is gone.

                                                      A SHORT TIME
                                                           LATER -

105   EXT. RAFT - DAY                                          105

      Pi has cut his shoe into a dozen bits of leather and tried
      fishing several times - Always with the same result. Richard
      Parker, watching, mops at his jaw to wipe away drool - he's
      clearly getting hungry.



      Pi still fishes with no success. Richard Parker stares in the
      water at the dorado. He leans over the side of the boat,
      pawing hungrily at the surface as fish streak past - but the
      fish elude him. Richard Parker leans out further, striking
      with both paws - and finally jumps in altogether.

      Richard Parker strikes and splashes as fish streak past. Pi
      grins at the tiger's predicament - but the moment Richard
      Parker realizes he can't climb back aboard, he begins
      swimming toward the raft. Pi snaps to, recognizing the danger
      he's in. He reels the raft over to the lifeboat, practically
      leaping onto the bow.

      As he hauls the raft aboard, Richard Parker manages to catch
      the netting on the raft with one paw. Pi leans back against
      an oar with all his weight, trying to lever the raft aboard;
      the weight of the tiger tips the entire bow lower in the
      water. Pi is about to lose the struggle when the tiger's claw
      rips through the netting, and the lifeboat springs back up in
      the water; the momentum flips the raft up onto the boat.

      Pi turns, watching as Richard Parker swims up behind him
      alongside the bow. He digs into the supply box and rises with
      a hatchet in his hand, crossing to stand over the tiger and
      blowing the whistle threateningly.

      Standoff. Pi pumps the axe a few times, but cannot bring
      himself to kill the tiger. Richard Parker stares up at Pi a
      long moment, then paddles to the stern, trying once again to
      pull himself aboard at the other end of the boat.

                What am I doing?

      Pi kicks at the side of the boat in frustration, and is
      surprised to hear a metal clunk. He finds a rectangular
      aluminum air box used for bouyancy: Pi then pulls the tarp
      back fully for the first time and examines the contents

       As he removes one of the floorboard panels, imagining new
       uses for the wooden slats, he hears Richard Parker scratching
       at the hull of the boat.

                           PI (CONT'D)
                 Wait - I'm thinking.

107    EXT. THE LIFEBOAT - NIGHT                                   107

       Pi has tied a bunch of the flotation boxes to his raft and
       loaded it with all the provisions from the lifeboat. He
       points a flashlight beam over the side at the exhausted
       Richard Parker, the tiger's face and whiskers just above the
       surface of the water, scratching at the side of the boat.

       Pi backs to the other end of the boat, pushing his raft into
       the water with one hand as he rocks the boat to help Richard
       Parker climb in. The moment the tiger is aboard, Pi climbs
       onto the raft and pushes off, retreating to safety, blowing
       the whistle to remind Richard Parker who's in command.

       As he floats away, Pi collapses, exhausted, on the raft.

A107   EXT. THE RAFT - DAY                                        A107

       Pi goes through the supplies listed in his survival guide,
       matching supplies to the pile of booty he's just retrieved
       from the lifeboat.

                           PI (WRITING - V.O.)
                 93 cans of water...

B107   EXT. THE RAFT - DAY                                        B107

       Pi removes all of the lifejackets from under the life ring,
       stacking them onto his latest raft structure. The empty
       banana netting now drapes beneath the raft; Pi notices that
       dorado are attracted to the net and gets an idea.

       One of the dorados gets very close to the net - Pi realizes
       his opportunity. He hauls in the netting and wrestles the
       dorado onto the raft, flailing against the creature's
       strength and throwing his full weight onto the creature to
       keep it from sliding back into the ocean, riding it like a
       bucking bronco. Pi grabs a hatchet from the raft and strikes
       the fish over and over again. As the fish begins to die, it
       flashes all kinds of colors in rapid succession - blue,
       green, red, gold and violet flicker and shimmer neon-like on
       its surface. Pi starts back, watching this colorful display
       in terrified wonder. Finally, the fish ebbs to grey,

                 I'm sorry.     I'm sorry.

       Pi is devastated. He weeps, bringing his hands together,
       pressing them against his forehead, murmuring a prayer to
       himself and bowing over the dead fish in abject grief.

                           PI (CONT'D)
                 Thank you, Lord Vishnu. Thank you
                 for coming in the form of a fish
                 and saving our lives. Thank you...


       Pi reels himself over to the lifeboat. He moves around to the
       side of the boat, grabs the dorado by the tail and throws the
       entire fish over the side and into the stern. It lands with a
       thud, and from somewhere inside the boat, Richard Parker lets
       out a grunt of surprise.

       After a moment, Pi hears the wet mashing noises of the tiger
       devouring the fish. As Pi pushes away from the lifeboat, he
       puts the whistle in his mouth, blowing a few sharp blasts to
       remind Richard Parker who's in charge.

112A   EXT. THE RAFT - NIGHT                                   112A

       A full moon. All around the raft, the green surface of the
       water glows with millions of flecks of glowing plankton - and
       beneath the surface, fish swim past at multiple depths and in
       multiple directions. Pi brushes his fingers over the surface
       of the water. The surface ripples where he touched it, the
       plankton glowing more brightly, the effect moving outward and
       downward through the water, an ever-expanding ring.

       Pi hears a faint, rapid succession of blows. He peers into
       the encroaching darkness but can see nothing. Richard Parker
       is nowhere to be seen. The blows stop and Pi returns his
       attention to the light show below.

       Pi senses movement deep within the water, a cone of rushing
       energy pressing up toward the luminescent surface.

       Suddenly, the glowing silhouette of a huge creature wrapped
       in phosphorescent plankton - a HUMPBACK WHALE - streaks to
       the surface nearby, its mouth gaping. Fifty feet in length,
       it thrusts itself up into the air. Pi barely has time to
       react, gripping the raft and holding on for his life as the
       whale comes crashing back down into the water.

      The animal slips back into the ocean, creating a wave that
      sends the raft swirling across the water's surface,
      submerging for a moment, then bouncing off the side of the

      Pi's neatly-stacked water cans and biscuits tumble over the
      side of the raft and into the ocean.

      The whale disappears into the night, leaving Pi open-mouthed
      and shaken.

                          PI (V.O.)
                Of course, I brought all the
                biscuits and water on the raft with
                me to keep them safe. Idiot.

116   EXT. THE RAFT/LIFEBOAT - LATE AFTERNOON                  116

      A calm day; gentle waves. Afternoon, the sun beating down. Pi
      wears his shirt wrapped around his head to hold off the heat.

                          PI (V.O. - CONT'D)
                Hunger can change everything you
                ever thought you knew about

      Pi uses his knife to cut another scratch into the hull. There
      are 38 scratches on the side of the lifeboat. He glances
      down, staring longingly at the fish that swim just beneath
      the raft, then looks across the lifeboat, where the gaff lies
      hooked in the tarp close to the tiger's end of the boat.
      Richard Parker is nowhere to be seen.

      Pi reaches out with the boat hook to try to snag the gaff,
      but it is hooked deeply into the tarp. He lays the boat hook
      on the tarp and climbs aboard, crawling forward to free the
      gaff. As he wiggles the hook free, Richard Parker's head pops
      out from beneath the tarp only a few feet away.

      Pi's winces, prepared for an attack. In an instant, he's
      struck hard across the face - a stunning blow that sends him
      backward onto the tarp.

      Pause. Pi opens one eye. Richard Parker hasn't moved. Pi
      looks down - a slender grey-blue fish with wings is flopping
      about on the tarp. Pi has been hit by a flying fish.

      Richard Parker has seen the flying fish as well. He rises to
      his haunches. Pi grabs the flying fish and tosses it to
      Richard Parker.

                          PI (CONT'D)
                Here, it's yours.

The tiger stands, jaws opening in anticipation...

And then the fish extends its wings, veering at the last
second and dropping into the water. Richard Parker tries to
bat the fish down, but it's too quick for him. The tiger
turns back toward Pi with a questioning glare.

The air around the boat whirs   to life as they are struck from
all directions by a school of   flying fish that descends upon
them like a swarm of locusts.   Some sail clear over the boat;
a number crash into the side.   Other, less fortunate fish land
in the boat, where they start   a racket of flapping and
flailing. Pi yelps in anguish   as he is struck repeatedly.

The school of fish is being pursued through the ocean by
tuna. It is a feeding frenzy - the ocean boils with jumping
fish and snapping jaws.

Richard Parker becomes totally absorbed in the kill, leaping,
blocking, and batting down as many of the fish as he can.

A fat, three-foot long yellowfin tuna lands onboard, cracking
hard against the center bench and falling, stunned and
twitching, into the boat.

Pi sees Richard Parker's head swivel in his direction. In a
moment of insanity brought on by hunger, Pi reaches back and
grabs the boat hook from the tarp, shoving it aggressively
into the tiger's face just as Richard Parker launches

The boat hook catches Richard Parker square in the mouth; the
tiger staggers back in shock and growls in outrage. Pi rises
up to his full height, staring directly into the tiger's eyes
and shouting in fury, his gaze wide, his posture defiant.

                    PI (CONT'D)
          MINE!!!! MINE!!! AHHH!!

Boy and tiger face off for several seconds, both panting,
neither blinking nor showing fear, as the rain of fish
gradually slows around them.

Richard Parker turns his focus from Pi and takes in the
situation around him. Realizing that he stands up to his
knees in a pile of flying fish, he turns his attention to a
more convenient meal.

Pi uses the gaff to snag the tuna, shoving it to the farthest
edge of the bow. As he rises, late afternoon light casts
golden flames across the surface of the water, throwing Pi
into backlight.

       Pi picks up the boat hook and turns to face Richard Parker.


       Pi takes a small piece of tuna and gingerly raises it to his
       lips, tasting flesh for the first time. A pause as he savors
       the taste, considering... and then hunger takes him over. He
       grabs at the tuna, stuffing pieces into his mouth, devouring

A132   EXT. THE LIFEBOAT - DAY                                 A132

       Pi uses a bandage from the first aid kit to wrap a cut on his
       leg. As he works, he glances back toward the boat, deep in

                           PI (V.O.)
                 I can't risk my life every time I
                 have to climb onto the boat for
                 supplies. It's time to settle this.
                 If we're going to live together, we
                 have to learn to communicate.

B132   EXT. THE RAFT - DAY                                     B132

       Pi reaches into the stern, prying loose a seven-foot strip of
       wooden molding that lines the front edge of the seats.

                           PI (V.O.)
                 Maybe Richard Parker cannot be
                 tamed, but with God's will, he can
                 be trained.

       Pi works intently with his knife, whittling the strip of
       molding into a long tapered wand with a handgrip on one end.

133    EXT. THE LIFEBOAT - DAY                                  133

       Pi crosses the tarp, approaching Richard Parker with his new
       training stick.

       The tiger backs off as Pi approaches - curious and annoyed.
       Pi uses the stick to probe into the tiger's territory,
       testing his limits; Richard Parker gets angry, batting at the
       stick. Pi looks away, tries again, then turns to face Richard
       Parker, who growls, angry and begins batting at the stick.


      Pi gives the tiger a stern glare. RP stops, stares back, then
      backs off.

                          PI (CONT'D)

      Pi reaches into a pouch behind his back, taking out a piece
      of fish. He places it on the end of the stick and reaches
      out, offering it to Richard Parker, who sniffs the air.

      Pi puts the fish on the bench. Richard Parker eats the fish,
      then backs up, growing calmer.

      Pi takes out another fish, reaches out to tap the bench, then
      tosses the fish on the bench. Richard Parker takes the fish,

      Pi tosses the next piece near the edge of the tarp and taps,
      encouraging Richard Parker to follow his direction.

                          PI (CONT'D)
                Go Richard Parker. Go. Go on home;
                I'll leave you alone. I'll respect
                that. I promise. Go, c'mon.

      Richard Parker stares at Pi. Pi raises his arms and yells,
      chasing Richard Parker around the bench and under the tarp.

                          PI (CONT'D)

      Pi sits, the battle over.

137   EXT. THE LIFEBOAT/THE RAFT - DAY                            137

      The sun is high. Pi raises the adjustable canopy he has
      rigged on his raft and sits beneath it. He feels the wind on
      his face and watches Richard Parker lounge in the stern of
      the lifeboat. Pi smiles, for a moment genuinely happy.

      He uses his knife to carefully sharpen his pencil, then
      begins writing in the margins of his survival manual, which
      are covered with journal entries...

      `LIFE IS GOOD' MONTAGE - Pi's raft has transformed again.
      Fish strips dry on lines; he has fashioned new tools, rigged
      an elaborate water collection system out of turtle shells,
      and a collapsible shade umbrella.

      - Pi trims his fingernails, a fish bone toothpick in his

                          PI (WRITING - V.O.)
                I never thought a small piece of
                shade could bring me so much
                happiness. That a pile of tools - a
                bucket, a knife, a pencil- might
                become my greatest treasures. Or
                that knowing Richard Parker was
                here might ever bring me peace. In
                times like these, I remember that
                he has as little experience of the
                real world as I do. We were both
                raised in a zoo by the same master.
                Now we've been orphaned, left to
                face our ultimate master together.
                Without Richard Parker, I would
                have died by now. My fear of him
                keeps me alert. Tending to his
                needs gives my life purpose.

138   EXT. RAFT - DAY                                             138

      A school of dolphins, hundreds of them, pass in the distance,
      the blue sea roiling.

                Dolphins, Richard Parker!

      Just beyond the school of dolphin, something else catches
      Pi's attention on the horizon - a freighter, much like the
      Tsimtsum, is within a few miles of their position.

                          PI (CONT'D)
                Hey! HEY!! WE'RE HERE!! OVER HERE!!

      Pi scrambles to the storage locker, pulling out the flare
      gun. He loads and fires - the flare arcs high up into the
      air, a miniature white star leaving a bright trail of fire
      and smoke as it falls to the earth.

                                                        LATER -

139   EXT. RAFT - SUNSET                                          139

      It's grown noticeably darker. The freighter is far off now.

140   EXT. THE LIFEBOAT - NIGHT                                   140

      It is late now. Pi loads the last flare into his gun and
      raises it into the air - then stops. The freighter, now a
      fleck on the horizon, hasn't seen them. Pi watches as the
      dark form of the boat sinks from view.

       Pi fires one last time, staring up at the archways of smoke
       and the darkening sky. Pi lowers the flare gun. Richard
       Parker yawns and turns away.

                             PI (WRITING - V.O.)
                   Above all, don't lose hope...

       The flare burns a hole into the night.

141    EXT. THE LIFEBOAT, MONTHS LATER - DAY                       141

       HIGH ANGLE ("book cover" shot) - looking down on the boat,
       adrift in the middle of the ocean. Pi lies curled on the tarp
       in the bow; Richard Parker lies in the stern. Beneath the
       boat, the ocean swirls with traffic, including an enormous
       whale shark. It passes beneath the boat, the creature's form
       blotting out the depths.

A141   ONBOARD -                                                  A141

       A series of shots to show that Pi has grown gaunt, his eyes
       wild from exhaustion and endless solitude. The tarp has
       faded; the paint on the boat has become sun-bleached and
       weather- beaten. Pi's hair has grown long; his skin has
       darkened from olive-caramel to cocoa. The shirt has begun to
       take on a look of thread-worn transparency.

       He taps on the aluminum hull of the boat with his thumb in
       time with his recitation:



       Richard Parker gazes into the distance;     Pi stares intently
       at the tiger.

                   What are you looking at...? Tell
                   me. What do you see?

       The tiger turns and looks over the side of the boat into the
       water; Pi rises and looks over the side as well, staring into
       the depths...

      RP'S POV - starting on his own reflection in the water and
      traveling downward, through schools of darting tuna, squid
      and lantern fish, past fleeting memories of a storm and zoo
      animals struggling to survive in churning waters and into the
      darkest recesses of the sea, Pi finding a broken ship and
      memories of a former life lying dormant on the ocean floor...

      OUT OF POV - Richard Parker looks over at Pi as he gazes into
      the water.

      Cut to an extremely wide shot of the boat floating in a sea
      of stars.

                          PI (WRITING - V.O.) (CONT'D)
                Words are all I have left to hang

147   EXT. LIFEBOAT - DAY                                      147

      Pi's fingers tremble as he writes in his manual, the tiny
      cramped letters barely legible, every white surface of the
      page covered.

                          PI (WRITING - V.O.)
                Everything mixed up, fragmented.
                Can't tell daydreams, night dreams
                from reality anym --

      The lead in his tiny stub of a pencil runs out, worn to a nub
      of wood. Pi slowly puts down his pencil, brooding.

148   EXT. THE LIFEBOAT - DAY                                  148

      Pi lies on the tarp, his position nearly unchanged, beating a
      drum rhythm on the hull, a wreck of conflicted thoughts and
      frayed nerves.

      We hear a distant rumble of thunder. Pi raises his head. Dark
      thunderclouds rise up over the horizon blackening the
      heavens. Another rumble of thunder, this one closer.

                Storm! Storm, Richard Parker!

149   EXT. LIFEBOAT - DAY                                      149

      Pi takes down the canopy on the raft. Pi begins quickly
      stowing his gear in the storage bench, beneath the tarp.
      Richard Parker flees to the safety of his den under the tarp.
      As Pi stows gear, he remembers his manual and takes it out
      from his waistband.

      The storm front sweeps across the ocean in a squall line,
      high winds and rain striking Pi and the lifeboat with
      tremendous force. The manual slips from his hands and Pi is
      knocked off his feet and into the water. He lifts his head
      out of the water in time to watch the manual flying off into
      the storm.


      The manual is gone. Pi ties himself to the lifeboat with a
      rope from the raft.

150   EXT. LIFEBOAT - DAY                                         150

      a stunning display of clouds and lightning fills the sky, as
      Pi looks on in awe. The sky lights up, a vivid white splinter
      of lightning crashing down from the sky, puncturing the water
      near the lifeboat. The water is shot through with what looks
      like the white roots of an enormous celestial tree; the clap
      of thunder is tremendous.

                Praise be to God, Lord of All
                Worlds, the Compassionate, the

      A wave washes Pi off of the tarp and onto the floor of the
      boat. Pi climbs onto the bench. He looks up in wonder at the
      sky, overwhelmed by the magnificence of the roiling clouds.

                          PI (CONT'D)
                It's beautiful... Where are you,
                Richard Parker? You have to see

      Another angle: he begins unbuttoning the tarp, calling
      excitedly to Richard Parker.

                          PI (CONT'D)
                Come out Richard Parker! Come see
                the hand of God!

      Pi continues to unfasten the tarp.

                          PI (CONT'D)
                Don't hide yourself! He's come to
                us! It's a miracle!

      A huge wave envelopes the lifeboat, submerging the craft
      completely - and then the boat pops to the surface like a
      cork. Pi resumes opening the tarp. He tears it aside,
      exposing the terrified animal to the storm.

                          PI (CONT'D)

      The sky lights up all around them. The tiger begins roaring,
      pawing at the air, eyes wide, crazed with fear. Pi turns to
      face the storm.

                          PI (CONT'D)

      A wave washes Pi overboard, and the   raft comes crashing down
      on top of the lifeboat, then slides   away. Pi climbs back on
      board. He lies on the bench, coming   to his senses, realizing
      the extent of the danger they face.   He sees Richard Parker
      cowering miserably at the stern.

                          PI (CONT'D)
                I'm sorry Richard Parker!

      Pi crawls to the bow in time to see the raft, no longer tied
      to the lifeboat, drifting away. Pounded by rain and surf, he
      works his way around the edge of the boat, re-hooking the
      tarp to tarp hooks. With only four left unfastened along one
      side, he pulls himself under the tarp.


      Thunder, rain and surf hammer the tarp from above; Pi pulls
      himself under the tarp. Richard Parker's grunts and labored
      breathing can be heard, but man and beast are only fully
      visible when lightning strikes, Pi trying to stay as far away
      from the tiger as he can manage. Before long the boat is
      tossing Pi and the tiger as though in a washing machine, the
      two helplessly colliding with one another, Pi choking as
      water splashes in.

152   EXT. THE LIFEBOAT - DAY                                     152

      Pi wakes in the sloshing water under the tarp. Sunlight
      filters in from above. The storm has passed. Richard Parker
      lies listlessly in the side bench. Pi climbs out of the
      waterlogged hull. A double rainbow pierces majestic clouds,
      the sun breaking through.

153   EXT. THE LIFEBOAT - DAY                                     153

      The gentle sound of water lapping at the side of the
      lifeboat; the breeze rattling the tarp. Time has passed;

      life on the boat has grown tougher for Pi, his supplies more
      meager, since the raft was lost.

      Pi lies in the bow, exhausted, delirious. He pulls himself
      upright, takes a drink of water and looks around, confused.

      Richard Parker lies in the stern of the boat, severely
      emaciated, his coat dull, his eyes clouded. Shivering, Pi
      uses the last of his strength to drag himself over to the
      tiger. The animal's body is curled, his tail flat. Some of
      his fur has fallen away from his shoulders and haunches. He's
      a skeleton in an oversized bag of fur. Pi reaches out to
      place a hand on the tiger. He gently touches him on one spot.

                We're dying, Richard Parker. I'm

      Pi sits and places the tiger's head on his lap.

                          PI (CONT'D)
                Amma, Appa, Ravi - I'm happy I'm
                going to see you soon.
                Can you feel the rain?

      Richard Parker raises his head slightly; his tail twitches.

                          PI (CONT'D)
                God, thank you for giving me my
                life. I'm ready now.

158   EXT. THE LIFEBOAT/THE ISLAND - DAY                       158

      Pi lies, unconscious, in the bow of the lifeboat. Waves lap
      at the sides of the boat, which presses against the shore of
      an island.

      A gust of wind blows across Pi's face, tousling his hair. Pi
      gradually opens his eyes. A beat. He tips his head back.

      Pi's POV - above and behind him, the tops of trees.

      Pi turns, looking at the island, amazed. The trees have a
      pale bark with an amazing profusion of leaves, their color
      burning with a neon-like intensity. There is no sand; instead
      the ground is an intricate, tightly webbed mass of tube-
      shaped seaweed, about two fingers in diameter.

      Pi turns to look back to the stern; he calls under the tarp.

                Richard Parker?

      Pi rises, stepping out of the boat. The seaweed is rubbery -
      uncertain ground. His legs are wobbly. He hooks the gaff on a
      root and falls to the ground. Pi tears up a piece of the
      seaweed and examines it. He takes an experimental bite. Soon
      he's grabbing handfuls of the seaweed, eating as fast as he

      Pi climbs the ridge on unsteady legs. A forest comes into
      view with nearly symmetrical ponds dotting the island here
      and there, many of them reaching 40 feet in diameter.

      Half the island seems to be covered with meerkats - thousands
      of them standing together in groups all over the island. The
      moment the first of the meerkats notices Pi, it turns and
      stands on its hind legs - and the others immediately follow


      Pi walks slowly forward, taking in the meerkats and the
      island. Gradually, the meerkats return to all fours - their
      squeaking and barking noises coming and going in waves
      throughout the herd. They pay him so little attention that Pi
      has to shove them aside with his legs in order to walk.

                Excuse me... Go on, move!

      Pi walks beyond the throng of meerkats toward a pond, pausing
      to examine the fish bones that litter the edge of one of the
      ponds. The edge is steep; he gets too close, slips down the
      side and into the water. Pi tastes the water. He begins a
      gentle, blissful breaststroke across the pond.

      Pi hears a commotion. He lifts himself up to peer over at the
      meerkats. In the distance, Richard Parker blazes a trail
      through the meerkats, catching, pinning and eating as many as
      he can. Pi smiles, watching the tiger.


164   EXT. THE TREE - SUNSET                                   164

      Pi sits cradled in a nest of branches, rigging a hammock. As
      the last rays of the sun disappear, he hears a commotion
      below on the island and pushes aside branches to see better.
      The meerkats are abandoning the ponds, scurrying up onto land
      and running for the forest, their collective stampede noisier
      than a herd of elephants. Richard Parker, in the meantime,
      runs for the shoreline, scrambling down the ridge as fast as
      possible and leaping into the lifeboat.

      The trunk beneath Pi is swarmed as meerkats settle upon all
      the branches in the tree. Several invade Pi's hammock,
      sitting on him, climbing over him, making themselves
      comfortable at his expense.

                Hey! Hey! Hey c'mon. Hey! Hey-get
                away. This is my bed!

      Pi shoves them off as best he can and settles in for the

165   EXT. UP IN THE TREE - NIGHT                                 165

      Pi sleeps, nestled in the branches of the tree.

      Meerkats snore - at least one of them in the branches beneath
      Pi does. Pi wakes up, staring grumpily into the darkness at
      the noisy offender.

      He is amazed to discover that what he can see of the island
      from his perch is bioluminescent. The leaves of the tree
      around him and the seaweed below all glow in gentle greens,
      while the ponds beneath seem to shimmer like liquid silver -
      it is a scene at once beautiful and threatening.

      Pi hears a burbling noise coming from the pond at the center
      of the tree. He looks down; fish bubble to the surface. One
      of the larger fish writhes in agony at the surface before
      falling still along with the others.

      Pi watches as the water below begins churning with the bodies
      of the dead fish, the surface of the water aswirl with the
      flash of fins - then gradually the fish begin to disappear,
      as though slowly dissolving in the water. Pi stares at the
      mysterious pool, then looks out over the island to where the
      lifeboat is anchored along shore -

      Richard Parker is visible, sitting in the boat, staring up at
      the island.

166   EXT. THE LIFEBOAT - NIGHT                                   166

      CLOSE ON RICHARD PARKER staring into the night.

168   EXT. LIFEBOAT - NIGHT                                       168

      WIDE ANGLE - looking over the tiger's shoulder, taking in the
      entire island. From this distance, it looks - and sounds - as
      though the island is gently expanding and contracting with
      the tides... as though it is breathing.

169   EXT. UP IN THE TREE - NIGHT                                169

      Pi notices fruit growing on one of the branches above his
      head. He looks around at the rest of the tree, but the fruit
      only seems to grow along the one branch. Pi plucks one of the
      fruits and examines it. Each stem that he pulls causes a leaf
      to peel off. He reaches the center of the ball, peeling back
      the last of the leaves, to reveal a tooth.

                                                     FLASH FORWARD

170   INT. PI'S HOME, MONTREAL - LATE AFTERNOON                  170

                It was human tooth?

                          ADULT PI
                Don't you see, the island was

                Carnivorous? Like... a Venus

                          ADULT PI
                Yes, the whole island - the plants,
                the water in those pools, the very
                ground itself. During the day,
                those pools held fresh water, but
                at night, some chemical process
                turned the water in those pools
                into acid - acid that dissolved
                those fish, that sent the meerkats
                scurrying into the trees and
                Richard Parker running to the boat.

                But where did the tooth come from?

                          ADULT PI
                Years ago, some poor fellow just
                like me must have found himself
                stranded on that island.... And
                like me he thought he might stay
                there forever. But all that the
                island gave him by day, it took
                away again by night. To think - how
                many hours spent with only meerkats
                for company? How much loneliness
                taken on?

                          ADULT PI (CONT'D)
                All I know is that eventually he
                died, and the island digested him,
                leaving behind only his teeth. I
                saw how my life would end if I
                stayed on that island. Alone and
                forgotten. I had to go back to the
                world, or die trying.

171   EXT. ISLAND/LIFEBOAT - DAY                               171

      Pi loads the boat with water and meerkats; the tarp is piled
      high with roots and seaweed.

                          ADULT PI (V.O.)
                I spent the next day preparing the
                boat. I filled my stores with fresh
                water, ate seaweed until my stomach
                could take no more, and brought as
                many meerkats as I could fit into
                the storage locker for Richard
                Parker. I couldn't leave without
                him, of course - it would mean
                killing him. And so I waited for
                his return. I knew he wouldn't be

      He blows his whistle, calling:

                RICHARD PARKER!

172   EXT. THE ISLAND/LIFEBOAT - SUNSET                        172

      Richard Parker runs down the ridge and jumps into the stern.
      Pi climbs aboard and shoves off.

                                                        CUT TO:

173   EXT. OCEAN NEAR ISLAND - LIFEBOAT - SUNSET               173

      Pi and the tiger watch as the island recedes into the
      distance, lit by the late afternoon sun.

                          PI (V.O)
                No one has ever seen that floating
                island since; you won't read about
                those trees in any nature book. And
                yet if I hadn't found those shores,
                I would have died. And if I hadn't
                discovered that tooth, I would have
                been lost, alone forever.

                          PI (V.O) (CONT'D)
                Even when God seemed to have
                abandoned me, He was watching.
                Even when He seemed indifferent to
                my suffering, He was watching. And
                when I was beyond all hope of
                saving, He gave me rest, then gave
                me a sign to continue my journey.

177   EXT. THE MEXICAN COAST/THE JUNGLE - DAY                     177

      Pi leans over the side of the lifeboat. He falls overboard.
      We follow him underwater, his feet - hit a sandy bottom.

                          ADULT PI (V.O.)
                By the time we reached the Mexican
                shore, I was afraid to let go of
                the boat. My strength was gone. I
                was so weak. I was afraid that in
                two feet of water, so close to
                deliverance, I would drown. I
                struggled to shore and fell upon
                the sand. It was warm and soft,
                like pressing my face against the
                cheek of God. And somewhere two
                eyes were smiling at having me

      An empty coastline, nothing but sand, rocks and jungle. Pi
      struggles to bring the lifeboat ashore. Richard Parker is
      hiding under the tarp, nowhere to be seen. Pi pulls the
      painter line until the boat is on the beach, then collapses
      on the sand.

177   EXT. THE MEXICAN COAST/THE JUNGLE - DAY                     177

      Pi collapses on the beach. He hears Richard Parker coming a
      moment before he sees him; Pi turns, looking up as the tiger
      jumps over the boy, stretching in the air above him and
      landing in the water ahead of him.

                          ADULT PI (V.O.)
                I was so spent I couldn't move. And
                so Richard Parker went ahead of me.

      Richard Parker walks along the beach, his gait clumsy and
      uncoordinated from so much time spent at sea.

                          ADULT PI (V.O.)
                He stretched his legs and walked
                along the shore.

      Richard Parker stops, staring ahead into the forest, his back
      to the boy. Pi watches the tiger from behind, Richard
      Parker's ribs gently rising and falling as he smells the
      jungle air.

                          ADULT PI (V.O.)
                At the edge of the jungle, he
                stopped. I was certain he was going
                to look back at me, flatten his
                ears to his head, growl - that he'd
                bring our relationship to an end in
                some way. But he just stared ahead
                into the jungle.


      On Adult Pi alone:

                          ADULT PI
                And then Richard Parker, my fierce
                companion, the terrible one who
                kept me alive, disappeared forever
                from my life.

181   EXT. THE MEXICAN COAST/THE JUNGLE - DAY                  181

      Pi lies on the sand a few yards from the water. A group of
      six MEXICAN LOCALS hurry down the beach to him.

                          ADULT PI
                After a few hours, a member of my
                own species found me. He left and
                returned with a group who carried
                me away.

      Pi sobs uncontrollably as they carry him to safety.

                          ADULT PI (V.O.) (CONT'D)
                I wept like a child, not because I
                was overwhelmed at having survived,
                although I was. I was weeping
                because Richard Parker left me
                so... unceremoniously. It broke my


      It is near sunset, the light from the windows casting theroom
      in a golden hue - the same lighting we have just seen as Pi
      was leaving the island.

                    ADULT PI
          You know, my father was right.
          Richard Parker never saw me as his
          friend. After all we'd been
          through, he didn't even look back.
          But I have to believe that there
          was more in his eyes than my own
          reflection staring back at me. I
          know I felt it - even if I can't
          prove it. I just wish...
              (Beat. He sighs.)
          You know, I've left so much behind.
          My family, the zoo, Anandi, India -
          I suppose in the end the whole of
          life becomes an act of letting go.
          But what always hurts the most is
          not taking the moment to say
          goodbye. I was never able to thank
          my father for all I learned from
          him, to tell him that without his
          lessons I would never have
          And I know he's a tiger, but I wish
          I'd said: 'It's over. We've
          survived. Thank you for saving my
          life. I love you, Richard Parker.
          You will always be with me. May God
          be with you.'

The Writer shakes his head, astonished.

          I don't know what to say.

                    ADULT PI
          Hard to believe, isn't it?

A pause as the writer decides how to respond.

          It is a lot to take in, to figure
          out what it all means.

                    ADULT PI
          If it happened, it happened. Why
          should it have to mean anything?

          Well, some of it is pretty

Pi nods - a half-smile - then rises, crossing to the

                           ADULT PI
                 I was the only one who survived the
                 shipwreck, so the Japanese shipping
                 company sent two men to talk to me
                 in the Mexican hospital where I was
                 recovering. I still have a copy of
                 their report.

       Pi takes a tattered notebook out of the bookcase.

                           ADULT PI (CONT'D)
                 They had insurance claims to
                 settle, and they wanted to find out
                 why the ship sank. They didn't
                 believe me either.

       Pi hands the notebook to the Writer. On top, there is a
       newspaper article with the headline "BOY RESCUED: 227 DAYS IN
       THE PACIFIC." The Writer unclips the article, revealing the
       insurance report beneath. We hear Okamoto's first line over
       the report.

A175   INT. INFIRMARY - MEXICO, 1978 - DAY                     A175

                 Thousands of meerkats? On a
                 floating carnivorous island? And no
                 one has ever seen it?

                           YOUNG PI
                 Yes. Just like I told you.

                 Bananas don't float.

                     (In Japanese:)
                 Why are you talking about bananas?

                 You said the orangutan floated to
                 you on a bundle of bananas. But
                 bananas don't float.

                     (In Japanese:)
                 Are you sure about that?

                           YOUNG PI
                 Of course they do. Try it for

         In any case, we are not here to
         talk about bananas or meerkats.

                   YOUNG PI
         I've just told you a long story.
         I'm very tired.

         We're here because a Japanese cargo
         ship sank in the Pacific.

                   YOUNG PI
         Something I never forget. I lost my
         whole family.


             (In Japanese:)
         Get him some water.
             (In English:)
         We don't mean to push you. And you
         have our deepest sympathies. But
         we've come a long way. And we're no
         closer to understanding why the
         ship sank.

                   YOUNG PI
         Because I don't know. I was asleep.
         Something woke me up. It may have
         been an explosion; I can't be sure.
         And then the ship sank. What else
         do you want from me?

                   CHIBA (OFF)
         A story that won't make us look
         like fools.

         We need a simpler story for our
         report. One our company can
         understand. A story we can all
             (Chiba gives Pi a glass of

                   YOUNG PI
         So.... a story without things you
         never seen before.

         That's right.

                           YOUNG PI
                 Without surprises. Without animals
                 or islands.

                 Yes. The truth.

B175   INT. PI'S HOME, MONTREAL - DAY                      B175

                 So what did you do?

                           ADULT PI
                 I told him another story. Four of
                 us survived...

                           YOUNG PI (V.O. - OVERLAPPING)
                 Four of us survived...

C175   INT. INFIRMARY, MEXICO, 1978 - DAY                  C175

                           YOUNG PI
                 ...The cook and the sailor were
                 already onboard. The cook threw me
                 a lifebuoy and pulled me aboard.
                 Mother held onto some bananas and
                 made it to the lifeboat. The cook,
                 the cook was a disgusting man. He
                 ate a rat. We had food enough for
                 weeks, but he found the rat in the
                 first few days - and he killed it,
                 and dried it in the sun and ate it.
                 He was such a brute, that man. But
                 he was resourceful. It was his idea
                 to build the raft to catch fish. We
                 would have died in those first few
                 days without him. The sailor was
                 the same man who brought rice with
                 gravy, the Buddhist. We didn't
                 understand much of what he said,
                 only that he was suffering. I can
                 still hear him - the happy Buddhist
                 who only ate rice with gravy. He
                 had broken his leg horribly in the
                 fall. We tried to set it as best we
                 could, but the leg became infected
                 and the cook told us we had to do
                 something or he'd die. The cook
                 said he'd do it, but mother and I
                 had to hold the man down. And I
                 believed him - we needed to do it.

            YOUNG PI (CONT'D)
So... I kept saying, "I'm sorry, I'm
sorry", but he just kept.. looking
at me, his eyes so... I'll never
understand the point of that man's
suffering. We didn't save him, of
course. He died. The morning after,
the cook caught his first dorado,
and I didn't understand what he'd
done at first, but Mother did, and
I'd never seen her so angry. 'Stop
whining and be happy,' he said. "We
need more food or we'll die. That
was the whole point.' 'What was the
point?' Mother asked. "You let that
poor boy die in order to get bait?
You monster!' The cook got furious.
He started towards her with his
fists raised, and Mother slapped
him hard, right across the face. I
was stunned. I thought he was going
to kill her right then. But he
didn't. The cook didn't stop at
bait either, no. The sailor, he
went the same way the rat went -
the cook was a resourceful man. It
was a week later that he... Because
of me. Because I couldn't hold onto
a stupid turtle. It slipped out of
my hands and swam away and the cook
came up and punched me on the side
of the head and my teeth clacked
and I saw stars. I thought he was
going to hit me again, but then
Mother started pounding on him with
her fists and screaming, "MONSTER!
MONSTER!" She yelled at me to go to
the raft - "Nee poda!" I thought
she was coming with me or I'd never
have... I don't know why I didn't
make her go first. I think about
that every day. I jumped over and
turned back just as the knife came
out. There wasn't anything I could
do; I couldn't look away... He
threw her body overboard. Then the
sharks came. I saw what they... I
saw. The next day I killed him. He
didn't even fight back. He knew he
had gone too far, even by his
standards. He'd left the knife out
on the bench. And I did to him what
he did to the sailor. He was such
an evil man, but worse still, he
brought the evil out in me.

                          YOUNG PI (CONT'D)
                I have to live with that. I was
                alone in a lifeboat, drifting
                across the Pacific Ocean. And I


                          ADULT PI
                After that, no more questions. The
                investigators didn't seem to like
                the story, exactly - but they
                thanked me, they wished me well,
                and they left.

      Pause. The Writer speaks his thoughts aloud as the
      realization strikes.

                So...  the stories... Both the zebra
                and the sailor broke their leg. And
                the hyena killed the zebra and the
                orangutan. So ... the hyena is the
                cook. And the sailor is the zebra,
                mother is the orangutan... and
                you're... the tiger.

                          ADULT PI
                Can I ask you something?

                Of course.

                          ADULT PI
                I've told you two stories about
                what happened out on the ocean.
                Neither explains what caused the
                sinking of the ship, and no one can
                prove which story is true and which
                is not. In both stories, the ship
                sinks, my family dies, and I


                          ADULT PI
                So which story do you prefer?

                The story with the tiger. That's
                the better story.

                    ADULT PI
          Thank you. And so it goes with God.

              (Pause. He looks up.)
          Mamaji was right. It is an amazing
          story. Will you really let me write

                    ADULT PI
          Of course. Isn't that why Mamaji
          sent you here, after all?

They hear a car pulling into the alleyway alongside the

                    ADULT PI (CONT'D)
          My wife is here. Would you like to
          stay for dinner? She's an
          incredible cook.

          I didn't know you had a wife.

                    ADULT PI
          And a cat, and two children.

          So your story does have a happy

                     ADULT PI
          Well, that's up to you. The story's
          yours now.

The Writer smiles. Outside, car doors slam; we hear voices as
Pi's wife and children cross around to the front. Pi rises
and moves to the door. The Writer glances one final time at
the report. He flips the page and hesitates, reading the last
few lines aloud.

          "Mr. Patel's is an astounding story
          of courage and endurance
          unparalleled in the history of
          shipwrecks. Very few castaways can
          claim to have survived so long at
          sea, and none in the company of...
              (He looks up at Pi)
 adult Bengal tiger."

                We have a guest. Let me introduce

      THE WRITER stands and faces Pi. We see his POV - on Pi,
      holding his daughter in arms, surrounded by his family,

                                                     DISSOLVE TO:

183   EXT. THE MEXICAN COAST/THE JUNGLE - DAY                     183

      YOUNG PI'S POV of Richard Parker from behind as he stares
      into the jungle, the tiger's ribs gently rising and falling
      as he smells the jungle air - and then he walks forward and
      disappears into the swaying trees.

      The moment that the tiger is out of view, all the color
      drains out of Pi's world; his view of the trees loses all
      dimension and fades to black and white as we...

                                                    FADE TO BLACK.

                                 THE END

Life of Pi

Writers :   David Magee  Yann Martel
Genres :   Adventure  Drama

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