Phone Number 323-253-6402
OPENING MONTAGE – THE LEGEND
EXT. LAS VEGAS STRIP – NIGHT
Darkness. A heavy silence lingers. Then—
A jet engine ROARS to life, shattering the stillness. The
screen remains black for a moment longer, the sound
intensifying, like the ignition of a dream about to take
flight.
Suddenly—
A private jet bursts into frame, slicing through the night
sky, its sleek body reflecting the neon glow of Las Vegas
below.
The camera pulls back, revealing the Strip—a vast ocean of
shimmering gold, a symphony of flashing marquees, blinking
signs, and the endless pulse of a city built on fortune and
risk.
Quick cuts—sharp, rhythmic, electric:
— A hand shuffling a deck of cards, the snap of the
pasteboard crisp and deliberate.
— A roulette wheel spinning, the polished ivory ball
tumbling, a blur of red and black.
— A movie projector flickering to life, its beam cutting
through the dark, illuminating the roaring MGM lion.
— A young KIRK KERKORIAN (30s), standing on a dusty airstrip,
a worn flight jacket on his back, eyes locked on the endless
horizon.
VOICEOVER (KIRK)
They called me a gambler. A
dreamer. A fool. But I wasn’t
playing for chips or cash. I was
playing for something bigger.
Something no one could take away.
The camera zooms in on Kirk’s face—
CUT TO:
EXT. LAS VEGAS NIGHT
The heart of the Las Vegas Strip.
Kirk, now in his 70s, stands in the middle of his
empire—towering hotels, golden casinos, streets pulsing with
life. The world around him is his creation, his vision made
real.
(V.O.)
(KIRK)
This is my story. And it all
started with nothing.
FADE TO BLACK.
HUMBLE BEGINNINGS – FRESNO, CALIFORNIA (1930S)
EXT. DUSTY FARM – DAY
A young KIRK KERKORIAN (10 years old) works alongside his
father, AHARON, in the scorching sun. They’re picking grapes
in a vineyard. The air is thick with heat and the smell of
earth.
AHARON
(in Armenian, subtitled)
Kirk, my son, remember this: In
America, you can be anything. But
you must work harder than anyone
else.
Kirk wipes sweat from his brow, looking at the endless rows
of vines.
YOUNG KIRK
I don’t want to spend my life
picking grapes, Papa.
Aharon stops, looks at his son, and smiles sadly.
AHARON
Then don’t. But whatever you do, do
it with everything you have.
The camera lingers on Kirks face as he stares at the horizon,
dreaming of something more.
CUT TO:
FAMILY DINNER – 1927 FRESNO
Genres:
["Biography","Drama"]
Ratings
Scene
2 -
A Taste of Resilience
INT. KERKORIAN FAMILY HOME – EVENING
The Kerkorian home is modest but warm, with a small kitchen
and a dining table crowded with dishes. The aroma of Armenian
food fills the air—grape leaves, lamb stew, and fresh bread.
LILY, a strong and nurturing woman, places a steaming plate
of grape leaves on the table. AHARON, her husband, sits at
the head of the table, his face weathered but kind. Their
children—ROSE (18), NISHAN (16), and KIRK (10)—sit around the
table, eagerly waiting to eat.
LILY
(in Armenian, subtitled)
Come, eat. You’ve all worked hard
today.
The family begins to serve themselves, passing dishes and
sharing smiles. Kirk, the youngest, watches his parents with
wide eyes, soaking in every word.
AHARON
(in Armenian, subtitled)
Before we eat, let us remember
those who are not with us.
The family bows their heads in a moment of silence. When they
look up, Aron’s eyes are heavy with emotion.
AHARON (CONT’D)
(in Armenian, subtitled)
Our families—the Bagdasarians and
the Kerkorians—were strong. But the
genocide took so much from us. My
father, your grandfather, was
killed. Your mother’s family lost
everything. We were lucky to
escape.
Kirk looks at his father, confused but curious.
KIRK
(in Armenian, subtitled)
Why did they do that, Papa? Why did
they hurt our people?
Aharon sighs, choosing his words carefully.
AHARON
(in Armenian, subtitled)
Because they feared us, Kirk.
(MORE)
AHARON (CONT’D)
They feared our strength, our
unity. But we survived. And now we
are here, in America, where we can
build a new life.
Lily reaches over, placing a hand on Aron’s arm.
LILY
(in Armenian, subtitled)
We are lucky to be here. In
Armenia, we would have nothing. But
in America, there is opportunity.
You children can be anything you
want.
Rose, the oldest, speaks up.
ROSE
(in Armenian, subtitled)
I want to be a teacher, Mama. To
help others learn, like you’ve
taught us.
Lily smiles, pride shining in her eyes.
LILY
(in Armenian, subtitled)
And you will, my dear. You will.
Nishan, the middle child, leans forward.
NISHAN
(in Armenian, subtitled)
I want to work with my hands. To
build things, like Papa.
Aharon nods, his expression softening.
AHARON
(in Armenian, subtitled)
You will, Nishan. And you will
build them well.
Kirk, the youngest, looks around the table, his face
thoughtful.
KIRK
(in Armenian, subtitled)
I want to be rich. So rich that no
one can ever take anything from us
again.
The family laughs, but Kirk’s expression is serious.
AHARON
(in Armenian, subtitled)
Money is not everything, Kirk. But
if you’re going to dream, dream
big.
Lily reaches over, ruffling Kirk’s hair.
LILY
(in Armenian, subtitled)
Just remember, my son, to use your
success to help others. That is the
true measure of a man.
The family continues eating, their bond palpable. The camera
lingers on Kirk’s face as he looks around the table, his
young mind already racing with possibilities.
KIRK, (V.O.)
That night, I realized something: My parents had given up
everything so that we could have a chance. And I wasn’t going
to waste it.
CUT TO:
EXT. KERKORIAN HOME – NIGHT
The camera pulls back, showing the small house lit by a
single light. The sound of laughter and conversation drifts
through the open window, a testament to the family’s
resilience and love.
FADE OUT.
Genres:
["Drama","Family"]
Ratings
Scene
3 -
Standing Tall
EXT. ELEMENTARY SCHOOL PLAYGROUND – LATE AFTERNOON
ESTABLISHING SHOT:
The camera pans over vast farmland, golden under the setting
sun. We see a small, rural elementary school in the distance,
its playground bustling with children. Parents arrive to pick
up their kids—some in cars, others in horse-drawn buggies.
CUT TO:
PLAYGROUND – CLOSE-UP
Young KIRK (around 10 years old) and his Armenian friend,
ARAM, are playing kickball with a worn-out ball.
They laugh and shout to each other in Armenian, their voices
full of joy.
Suddenly, three older white boys approach. The leader, TOMMY,
a stocky bully with a sneer, steps forward.
TOMMY
Hey, camel jockeys! What are you
doing on our playground?
Kirk and Aram stop playing, confused. They exchange a few
words in Armenian, trying to understand what’s being said.
ARAM
(in Armenian, subtitled)
What’s he saying?
KIRK
(in Armenian, subtitled)
I don’t know. But he doesn’t look
friendly.
Tommy shoves Kirk, knocking him back a step. The other boys
laugh.
TOMMY
You don’t belong here. Go back to
wherever you came from.
Kirk’s face hardens, but before he can react, an old, beat-up
Ford pickup truck pulls up. NISHAN, Kirk’s older brother,
steps out. He’s tall and strong, with a no-nonsense demeanor.
NISHAN
(in Armenian, subtitled)
Kirk, what’s going on?
Kirk points to the bullies.
KIRK
(in Armenian, subtitled)
They’re pushing us around.
Nishan’s eyes narrow. He crouches down to Kirk’s level,
speaking firmly.
NISHAN
(in Armenian, subtitled)
You remember what I taught you? How
to stand up for yourself?
Kirk nods, his small fists clenching.
NISHAN (CONT’D)
(in Armenian, subtitled)
Then show them. Beat them up.
Kirk steps forward, his face set with determination. He
raises his fists, adopting the boxing stance Nishan taught
him.
TOMMY
What’s this? You think you can
fight?
Tommy swings at Kirk, but Kirk ducks and counters with a
quick jab to Tommy’s stomach. Tommy doubles over, gasping.
The other boys hesitate, but Kirk doesn’t stop. He lands a
clean punch to another boy’s shoulder, sending him stumbling
back.
The third boy tries to grab Kirk from behind, but Nishan
steps in, pulling him off.
NISHAN
(in Armenian, subtitled)
Let him fight his own battles.
Kirk spins around and delivers a final punch, knocking the
third boy to the ground. The bullies scramble to their feet
and run off, shouting insults but clearly defeated.
CUT TO:
CLOSE-UP – KIRK AND NISHAN
Kirk stands tall, breathing heavily but triumphant. Nishan
places a hand on his shoulder, pride shining in his eyes.
NISHAN
(in Armenian, subtitled)
You learned your lessons well,
little brother. I think you could
be a champion.
Kirk looks up at Nishan, a spark of ambition igniting in his
eyes.
KIRK
(in Armenian, subtitled)
I’m going to be the best.
Nishan ruffles Kirk’s hair, smiling.
NISHAN
(in Armenian, subtitled)
I don’t doubt it.
CUT TO:
WIDE SHOT
Nishan and Kirk climb into the old Ford pickup, driving off
into the sunset. The camera lingers on the empty playground,
the sound of the truck’s engine fading into the distance.
KIRK (V.O.)
That day, I learned something
important: No matter how small you
are, you can stand tall if you’re
willing to fight for what’s yours.
FADE OUT.
THE FORECLOSURE – 1930s
Genres:
["Drama","Coming-of-age"]
Ratings
Scene
4 -
Desperation at the Kerkorian Ranch
EXT. KERKORIAN FAMILY RANCH – DAY
The Kerkorian family ranch is a modest but well-kept property
with a small farmhouse, a barn, and a few acres of land. The
mood is tense as a black car pulls up, carrying two BANKERS
and two STRONG-ARM MEN.
Young KIRK (around 13 years old) watches from the porch as
his father, AHARON, steps forward to meet them. Kirk’s
mother, LILY, stands in the doorway, hugging his older
sister, ROSE.
BANKER 1
Aharon Kerkorian, we’re here to
enforce the foreclosure on this
property. You’ve got until the end
of the day to gather your things
and leave.
Aharon, a proud but weary man, clenches his fists but keeps
his composure.
AHARON
(In broken English)
You can’t do this. This land is all
we have.
BANKER 2
You should’ve thought of that
before you fell behind on payments.
Times are tough for everyone.
One of the STRONG-ARM MEN steps forward, cracking his
knuckles.
STRONG-ARM MAN
Don’t make this harder than it has
to be.
Kirk, watching from the porch, feels a surge of anger and
helplessness. He runs to his father’s side.
KIRK
(in Armenian, subtitled)
Leave him alone! This is our home!
Aharon places a hand on Kirk’s shoulder, pulling him back.
AHARON
(in Armenian, subtitled)
Kirk, stay out of this.
The BANKERS exchange a look, unmoved.
BANKER 1
You’ve got until sundown. After
that, we’ll be back with the
sheriff.
The men get back into their car and drive off, leaving the
family in stunned silence.
THE GOODBYE – KERKORIAN FAMILY RANCH (1930S)
Genres:
["Drama"]
Ratings
Scene
5 -
A Promise Amidst Loss
EXT. RANCH – LATE AFTERNOON
The Kerkorian family packs their belongings into a beat-up
truck. Kirk helps his father load a few crates of personal
items, his face a mix of anger and sadness.
KIRK
(in Armenian, subtitled)
Papa, why are they doing this? We
worked so hard.
Aharon stops and kneels to look his son in the eye.
AHARON
(in Armenian, subtitled)
Sometimes, Kirk, life isn’t fair.
But we don’t give up. We keep
fighting, no matter what.
Kirk looks at the land, his fists clenched.
KIRK
(in Armenian, subtitled)
I’m going to make sure this never
happens to us again. I’m going to
be rich, Papa. So rich that no one
can ever take anything from us.
Aharon smiles sadly, ruffling his son’s hair.
AHARON
(in Armenian, subtitled)
Money isn’t everything, Kirk. But
if you’re going to dream, dream
big.
Lily calls out from the truck.
LILY
(in Armenian, subtitled)
Aharon, Kirk, we need to go.
Aharon stands, taking one last look at the ranch.
AHARON
(in Armenian, subtitled)
This isn’t the end, Kirk. It’s just
the beginning.
They climb into the truck and drive away, the ranch growing
smaller in the rearview mirror. Kirk stares out the window,
his jaw set with determination.
VOICEOVER (KIRK)
We found out latter on the land had
oil in it. We were sitting on
Millions and didn't even know it!
That day, I made a promise to
myself. No matter what it took, I
would never let anyone take what
was ours again.
THE BOXING CHAMPIONSHIP – 1930s
Genres:
["Drama","Family"]
Ratings
Scene
6 -
Victory and Vision
INT. SMALL BOXING ARENA – NIGHT
The arena is packed with cheering spectators, the air thick
with sweat and excitement. Young KIRK (now in his late
teens)delivers a one two punch knocking his opponent to the
ground. The REF counts down.
REF
Eight ,nine, ten!
He steps over and raises Kirks hand into the air.
REF (CONT’D)
The winner Shotgun Kirk Kerkorian!
Kirk stands in the ring, his fists raised in victory. His
face is bruised but triumphant. His older brother, NISHAN,
climbs into the ring, beaming with pride.
NISHAN
(in Armenian, subtitled)
You did it, Kirk! You’re a
champion!
Kirk grins, breathing heavily but exhilarated.
KIRK
(in Armenian, subtitled)
I couldn’t have done it without
you, Nishan.
The referee raises Kirk’s hand, declaring him the winner. The
crowd erupts in applause.
CUT TO:
EXT. ARENA – NIGHT
Kirk and Nishan walk out of the arena, Kirk carrying a small
trophy. The night air is cool, a stark contrast to the heat
of the ring.
NISHAN
(in Armenian, subtitled)
You’ve got talent, Kirk. Real
talent. But boxing isn’t just about
winning fights. It’s about
discipline, focus, and knowing when
to take a hit.
Kirk nods, his mind already racing.
KIRK
(in Armenian, subtitled)
What’s next, Nishan? More fights?
Nishan smiles, clapping a hand on Kirk’s shoulder.
NISHAN
(in Armenian, subtitled)
We’ll set up some exhibition
matches. You’ll earn some money,
gain more experience. But remember,
Kirk, boxing isn’t forever. You’ve
got to think about the future.
VOICEOVER (KIRK)
I learned what it meant to be a
winner. But more than that, I
learned how to turn opportunity
into success. I took the money and
bought a couple of old cars.
Genres:
["Drama","Sports"]
Ratings
Scene
7 -
Dreams Under the Hood
EXT. KERKORIAN FAMILY HOME WEST LOS ANNGELES– DAY
Teenage KIRK (18 ) is in the yard, covered in grease, working
on an old, beat-up car. His mother, LILY, steps out of the
house, holding a plate of food.
LILY
(in Armenian, subtitled))
Kirk, you’ve been out here all day.
Come inside and eat something.
KIRK
Not now, Mama. I’m almost done.
Lily sighs, setting the plate down on a nearby table.
LILY
You’re going to waste away if you
don’t eat. What’s so important
about this old car anyway?
Kirk stands up, wiping his hands on a rag, and grins.
KIRK
This old car is going to pay for
flight school.
Lily looks at him, puzzled.
LILY
Flight school? What are you talking
about?
KIRK
I’m going to be a pilot, Mama. And
this is how I’m going to do it.
He gestures to the car, now shining and looking almost new.
KIRK (CONT’D)
I buy them cheap, fix them up, and
sell them for a profit. It’s just
the beginning.
Lily shakes her head, half-amused, half-concerned.
LILY
You’re just like your father.
Always dreaming big.
She walks back inside, muttering in Armenian.
LILY (CONT’D)
At least eat the food before it
gets cold.
Kirk smiles and takes a bite of the food before getting back
to work.
CUT TO:
THE HAPPY BOTTOM RIDING CLUB – 1940s
Genres:
["Drama","Family"]
Ratings
Scene
8 -
Aerial Ambitions
EXT. MOJAVE DESERT – DAY
ESTABLISHING SHOT:
The camera pans over the vast, sunbaked Mojave Desert, the
horizon shimmering in the heat. In the distance, we see the
Happy Bottom Riding Club—a sprawling ranch with a runway, a
cluster of rustic buildings, and a few small planes parked
nearby. The sound of laughter, clinking glasses, and the
occasional roar of an engine fills the air.
The camera zooms in on a sign at the entrance:
HAPPY BOTTOM RIDING CLUB – EST. 1935 – FLY, EAT, DRINK, AND
BE MERRY!
CUT TO:
EXT. RUNWAY – DAY
A small biplane taxis to a stop, its propeller slowing to a
halt. Out steps FLORENCE PANCHO BARNES, a larger-than-life
figure in a leather flight jacket, jodhpurs, and aviator
goggles pushed up on her forehead. She’s smoking a cigar and
exudes confidence and charisma.
PANCHO
Alright, who’s next? Who wants to
learn how to fly this bird?
KIRK (mid-20s), wearing a simple shirt and trousers, steps
forward, his eyes wide with excitement.
KIRK
I do, ma’am.
Pancho sizes him up, a smirk playing on her lips.
PANCHO
You? You look like you’ve never
even seen a plane up close.
Kirk grins, undeterred.
KIRK
I’ve flown before. Just not
anything like this.
Pancho raises an eyebrow, intrigued.
PANCHO
Oh, you’ve flown, have you? Well,
let’s see what you’ve got, hotshot.
She tosses him a pair of goggles and gestures to the plane.
PANCHO (CONT’D)
Hop in. And don’t touch anything
until I tell you.
THE FLIGHT LESSON – IN THE AIR (1940S)
Genres:
["Drama","Biopic"]
Ratings
Scene
9 -
Soaring Potential
INT. BIPLANE COCKPIT – DAY
Kirk sits in the pilot’s seat, his hands gripping the
controls. Pancho climbs into the seat behind him, leaning
forward to shout instructions over the roar of the engine.
PANCHO
Alright, kid, listen up. Flying
isn’t just about pushing buttons
and pulling levers. It’s about
feeling the plane. Understanding
it. You got that?
Kirk nods, his eyes focused.
KIRK
Got it.
Pancho grins, slapping him on the shoulder.
PANCHO
Good. Now, let’s get this bird in
the air.
The plane accelerates down the runway, the wind whipping
through the open cockpit. Kirk’s heart races as the wheels
leave the ground.
PANCHO (CONT’D)
Feel that? That’s freedom, kid.
Nothing else like it in the world.
Kirk smiles, his face lit with pure joy.
KIRK
It’s incredible.
Pancho leans back, letting Kirk take the controls.
PANCHO
Alright, hotshot. Show me what
you’ve got.
Kirk steers the plane with surprising skill, banking gently
to the left. Pancho watches him, impressed.
PANCHO (CONT’D)
Not bad. Not bad at all. You’ve got
a natural feel for it.
Kirk’s grin widens.
KIRK
I told you I’ve flown before.
Pancho laughs, a hearty, booming sound.
PANCHO
Alright, kid, you’ve got potential.
But don’t let it go to your head.
Flying’s not just about skill. It’s
about guts. And you’ve got plenty
of that.
BACK ON THE GROUND – HAPPY BOTTOM RIDING CLUB (1940S)
Genres:
["Drama","Biographical"]
Ratings
Scene
10 -
A New Journey Begins
EXT. RUNWAY – DAY
The plane lands smoothly, taxiing to a stop. Kirk and Pancho
climb out, both grinning from ear to ear.
PANCHO
Not bad for your first time in one
of my planes. You’ve got the
makings of a real pilot, kid.
Kirk looks at her, his expression serious.
KIRK
I want to learn everything I can.
About flying, about planes, about
this life.
Pancho studies him for a moment, then nods.
PANCHO
Alright, kid. Stick around. I’ll
teach you what I know. But it’s not
going to be easy.
Kirk grins, his determination unwavering.
KIRK
I wouldn’t want it any other way.
CUT TO:
EXT. HAPPY BOTTOM RIDING CLUB – SUNSET
Kirk stands on the runway, watching as another plane takes
off into the setting sun. Pancho joins him, handing him a
bottle of beer.
PANCHO
You’ve got big dreams, kid. I can
see it in your eyes.
Kirk takes a sip of beer, his gaze fixed on the horizon.
KIRK
Bigger than you can imagine.
Pancho laughs, clinking her bottle against his.
PANCHO
Then you’re in the right place.
Welcome to the Happy Bottom Riding
Club, Kirk.
FADE OUT.
THE REJECTION – AIR FORCE RECRUITMENT OFFICE (1940S)
Genres:
["Drama","Biographical"]
Ratings
Scene
11 -
Determined to Fly
INT. AIR FORCE RECRUITMENT OFFICE – DAY
Kirk (early 20s), now taller and more confident, stands in
line at an Air Force recruitment office. He’s filled with
excitement, clutching his paperwork.
A RECRUITMENT OFFICER sits behind a desk, measuring the
height of a recruit ahead of Kirk.
RECRUITMENT OFFICER
Next!
Kirk steps forward, handing over his papers. The officer
measures his height, then frowns.
RECRUITMENT OFFICER (CONT’D)
Sorry, son. You’re a half-inch too
short. We can’t take you.
Kirk’s face falls.
KIRK
A half-inch? That’s it? I can fly
better than anyone in this room!
The officer shakes his head, unmoved.
RECRUITMENT OFFICER
Rules are rules. Next!
Kirk steps aside, frustrated but determined. He looks at a
poster on the wall: Join the RAF – Defend Freedom!
A spark of hope lights up his eyes.
CUT TO:
THE RAF – TRAINING CAMP (1940S)
EXT. RAF TRAINING CAMP – ENGLAND – DAY
Kirk, now in a British RAF uniform, stands at attention with
other recruits. A DRILL INSTRUCTOR barks orders.
DRILL INSTRUCTOR
You’re not here to be heroes.
You’re here to follow orders, stay
alive, and get the job done.
Understood?
RECRUITS (IN UNISON)
Yes, sir!
Kirk’s determination is evident as he trains rigorously,
learning to fly cargo planes under challenging conditions.
CUT TO:
THE MISSION – DANGEROUS SKIES (1940S)
Genres:
["Drama","War"]
Ratings
Scene
12 -
Through the Storm: A Pilot's Resolve
INT. CARGO PLANE COCKPIT – NIGHT
Kirk pilots a cargo plane through a stormy sky. Lightning
flashes, illuminating his focused face. His COPILOT, a young
British man named JAMES, looks nervous.
JAMES
Bloody hell, Kerkorian. This
weather’s worse than the Germans.
KIRK
Relax, James. We’ve got a job to
do.
Suddenly, anti-aircraft fire lights up the sky. Explosions
rock the plane.
JAMES
We’re taking fire! They’ve got us
in their sights!
Kirk grips the controls, his jaw clenched.
KIRK
Hold on!
He maneuvers the plane sharply, dodging the artillery fire.
The cargo shifts, and the plane groans under the strain.
JAMES
We’re not going to make it!
KIRK
We’re making it. I didn’t come this
far to go down now.
With skill and precision, Kirk navigates the plane through
the danger zone. The anti-aircraft fire fades into the
distance.
JAMES
You’re a madman, Kerkorian. But
I’ll be damned if you’re not the
best pilot I’ve ever seen.
Kirk smirks, keeping his eyes on the horizon.
KIRK
Just getting started.
CUT TO:
REFLECTION – RAF BASE (1940S)
EXT. RAF BASE – NIGHT
Kirk sits alone on the tarmac, looking up at the stars. His
commanding officer, CAPTAIN HARRIS, approaches.
CAPTAIN HARRIS
You’ve got a knack for this,
Kerkorian. Most men would’ve
cracked under that kind of
pressure.
KIRK
I don’t crack, sir. I adapt.
Harris sits down beside him.
CAPTAIN HARRIS
What’s your plan after the war?
You’ve got the skills to fly for
anyone you want.
Kirk looks at the horizon, a determined glint in his eye.
KIRK
I’m going to build something of my
own. Something big.
Harris nods, impressed.
CAPTAIN HARRIS
Well, if anyone can do it, it’s
you.
CUT TO:
THE RAF GAMBLE – ENGLAND (1940S)
INT. RAF MESS HALL – NIGHT
Kirk sits at a table with a group of RAF officers, playing
poker. The room is filled with smoke, laughter, and the
clinking of glasses. Kirk is calm, focused, and clearly
winning.
OFFICER 1
Bloody hell, Kerkorian. You’ve got
the devil’s own luck.
KIRK (SMIRKING)
It’s not luck. It’s math.
He lays down his hand, revealing a full house. The officers
groan as Kirk rakes in the pile of cash.
OFFICER 2
You’re cleaning us out, Yank. What
are you going to do with all that
money?
Kirk leans back, lighting a cigarette.
KIRK
Buy my future.
The officers exchange curious glances.
OFFICER 1
And what exactly does that future
look like?
Kirk exhales a plume of smoke, his eyes distant.
KIRK
Bigger than this war. Bigger than
anything you can imagine.
CUT TO:
THE AUCTION – UNITED STATES (1940S)
Genres:
["War","Drama","Action"]
Ratings
Scene
13 -
Kirk's Ambitious Bid
EXT. MILITARY AUCTION – DAY
Kirk, now back in the States, stands in a crowd of bidders at
a military surplus auction. The auctioneer gestures to a row
of C-47 cargo planes.
AUCTIONEER
Next up, we’ve got a fleet of C-
47s. War-tested, reliable, and
ready for a new life. Do I hear
$10,000?
Kirk raises his hand.
KIRK
$10,000.
The auctioneer looks surprised he waits. No one else bids.
AUCTIONEER
Sold to the young man in the back!
Kirk smiles, knowing he’s just scored a major deal.
CUT TO:
THE AIRFIELD – MONTEBELLO, CALIFORNIA (1940S)
EXT. AIRFIELD – DAY
Kirk stands in front of a row of C-47s, now parked at a small
airfield in Montebello. A MECHANIC approaches, wiping grease
off his hands.
MECHANIC
These birds are in rough shape,
Kirk. It’s going to take some work
to get them flying reliably.
KIRK
Then let’s get to work.
MONTAGE:
Kirk and the mechanic repair the planes, replacing engines,
patching wings, and repainting them.
Kirk meets with CATTLE RANCHERS and DELIVERY SERVICE OWNERS,
pitching the planes as the perfect solution for transporting
goods and livestock to remote areas.
The first plane takes off, loaded with cattle, as Kirk
watches with pride.
CUT TO:
KIRKS VO.
I had one more plane to sell it was
a delivery to England. The trip I
will never forget.
THE ATLANTIC CROSSING – MID-FLIGHT
Genres:
["Drama","Biography","Adventure"]
Ratings
Scene
14 -
A Close Call
INT. C-47 COCKPIT – NIGHT
Kirk pilots a C-47 across the Atlantic. The plane is equipped
with an additional fuel tank to make the long journey. The
gauges show the fuel levels dropping dangerously low.
COPILOT
Kirk, we’re running on fumes. We’re
not going to make it.
Kirk checks the gauges, his face tense.
KIRK
We’ve got to be close. Just a
little farther.
The engine sputters, then dies. The cockpit falls silent
except for the sound of wind rushing past.
COPILOT
We’re out of fuel!
Kirk grips the controls, his knuckles white.
KIRK
Hold on. We’re gliding in.
He scans the horizon, makes the sign of the cross praying for
land. Suddenly, the faint outline of a runway appears in the
distance.
KIRK (CONT’D)
There! We’re going to make it.
The plane glides silently toward the runway, losing altitude
rapidly. Kirk’s hands are steady, his focus unwavering.
The wheels touch down, and the plane rolls to a stop just as
it runs out of momentum. Kirk exhales, his heart pounding.
COPILOT
That was too close, Kirk. Too
close.
Kirk nods, still catching his breath.
KIRK
But we made it.
CUT TO:
THE REVELATION – AIRFIELD HANGAR
INT. HANGAR – DAY
Kirk and the mechanic inspect the additional fuel tank. The
mechanic shakes his head, laughing.
MECHANIC
Kirk, you installed the tank
backward. The filler cap’s at the
rear. No wonder you were 15 gallons
short.
Kirk stares at the tank, then bursts out laughing.
KIRK
Well, I guess I’ve got a
lot to learn about fuel
tanks.
The mechanic claps him on the back.
MECHANIC
You’re lucky to be alive, my
friend.
Kirk sobers up, looking at the plane.
KIRK
Luck had nothing to do with it. God
saved me! It felt like Angels were
holding the wings up!
CUT TO:
THE AIRLINE – LOS ANGELES
Genres:
["Drama","Adventure"]
Ratings
Scene
15 -
High Hopes at 30,000 Feet
EXT. LAX AIRPORT – DAY
Kirk, now in his late 20s, stands on the tarmac of LAX,
overseeing a small fleet of passenger planes. His sister,
ROSE, approaches, holding a clipboard.
ROSE
Kirk, we’ve got another booking.
Frank Sinatra wants to fly to Vegas
next week.
Kirk grins, clearly pleased.
KIRK
Sinatra, huh? That’s big. We’re
becoming the go-to airline for the
stars.
Rose smiles but looks concerned.
ROSE
We’re getting a lot of attention,
Kirk. But we’re stretched thin. We
need more planes, more pilots, more
everything.
Kirk claps a hand on her shoulder.
KIRK
We’ll make it work, Rose. We always
do. This is just the beginning.
CUT TO:
THE CELEBRITY FLIGHT – IN FLIGHT
INT. PASSENGER PLANE – DAY
Kirk pilots a plane filled with celebrities, including FRANK
SINATRA, DEAN MARTIN, and a few other Hollywood stars.
The atmosphere is lively, with laughter and music filling the
cabin.
FRANK SINATRA
Kirk, you’ve got a hell of a setup
here. Best way to get to Vegas,
hands down.
DEAN MARTIN
Yeah, and the service is top-notch.
You sure you’re not Italian?
The group laughs. Kirk, wearing a pilot’s uniform, smiles
from the cockpit.
KIRK
Just trying to make sure you all
get to Vegas in style.
Sinatra leans forward, lowering his voice.
FRANK SINATRA
You know, Kirk, you’ve got a real
knack for this. Ever think about
getting into the casino business?
Kirk’s eyes light up, but he plays it cool.
KIRK
I’m always thinking, Frank. Always
thinking.
CUT TO:
THE VISION – LAS VEGAS
Genres:
["Biographical","Drama"]
Ratings
Scene
16 -
Dreams and Dilemmas
EXT. LAS VEGAS STRIP – NIGHT
Kirk stands outside the newly built Flamingo Hotel, watching
as celebrities and high-rollers pour into the casino. Rose
joins him, looking around in awe.
ROSE
This place is incredible, Kirk.
It’s like a whole new world.
Kirk nods, his eyes scanning the bustling scene.
KIRK
This is just the beginning, Rose. Vegas is going to be bigger
than anyone can imagine. And we’re going to be a part of it.
Rose looks at him, impressed but cautious.
ROSE
You’ve got big dreams, Kirk. Just
don’t forget where we came from.
Kirk smiles, putting an arm around her.
KIRK
I haven’t forgotten, Rose. But I’m
not done yet. Not even close.
CUT TO:
THE CHALLENGE – LAX OFFICE
INT. AIRLINE OFFICE – DAY
Kirk sits at his desk, reviewing financial reports. Rose
enters, looking worried.
ROSE
Kirk, we’ve got a problem. One of
our planes had to make an emergency
landing. The repairs are going to
cost a fortune.
Kirk leans back in his chair, thinking.
KIRK
We’ll figure it out, Rose. We
always do.
Rose sits down, frustrated.
ROSE
Kirk, we’re stretched too thin. We
can’t keep this up forever.
Kirk looks at her, his determination unwavering.
KIRK
We don’t have to keep it up
forever. Just long enough to get to
the next level.
Rose sighs, knowing there’s no talking him out of it.
ROSE
You’re impossible, you know that?
Kirk grins.
KIRK
That’s why you love me.
CUT TO:
THE CRISIS – AIRLINE OFFICE
Genres:
["Drama","Biographical"]
Ratings
Scene
17 -
Financial Strain and Bold Solutions
INT. AIRLINE OFFICE – DAY
Kirk sits at his desk, surrounded by stacks of paperwork. His
sister, ROSE, enters, holding a ledger. She looks stressed.
ROSE
Kirk, we’ve got a problem. The
lease on the hangar is due, and we
don’t have the money. Payroll’s
coming up, and we’re short there
too.
Kirk leans back in his chair, rubbing his temples.
KIRK
How bad is it?
Rose slams the ledger down on his desk.
ROSE
Bad. We’re growing too fast, Kirk.
We can’t keep up with the expenses.
Kirk stares at the ledger, his mind racing.
KIRK
We need more capital. A lot more.
Rose looks at him, skeptical.
ROSE
And where are we going to get that?
The banks won’t touch us.
Kirk stands up, a determined look on his face.
KIRK
We’re not going to the banks. We’re
going to the Armenian community.
Rose raises an eyebrow.
ROSE
What are you talking about?
KIRK
We’re going to sell stocks. Shares
in the company. If we can get
enough people to invest, we can
raise the money we need.
Rose looks worried.
ROSE
Kirk, that’s a huge risk. What if
it doesn’t work?
Kirk smiles, his confidence unwavering.
KIRK
It’ll work. Trust me.
CUT TO:
THE PLAN – STOCK BROKER’S OFFICE
Genres:
["Drama","Biographical"]
Ratings
Scene
18 -
A Bold Vision for Expansion
INT. STOCK BROKER’S OFFICE – DAY
Kirk sits across from his friend, MIKE, a seasoned stock
broker. Mike is explaining the intricacies of selling stocks.
MIKE
(MORE)
MIKE (CONT’D)
Selling stocks is all
about trust, Kirk. You’ve
got to convince people
that your company is
worth investing in. That
means showing them a
solid business plan, a
clear path to
profitability, and a
vision they can believe
in.
Kirk nods, taking it all in.
KIRK
I’ve got the vision. And I’ve got
the track record. People know me.
They know what I’ve built.
Mike leans forward, looking serious.
MIKE
It’s not just about you, Kirk. It’s
about the numbers. You’ve got to
show them that this is a smart
investment. That they’re going to
get a return on their money.
Kirk thinks for a moment, then smiles.
KIRK
What if I told you I’ve got a plan
to expand the airline? To buy the
latest jets and open new routes. To
make this the biggest airline on
the West Coast.
Mike raises an eyebrow, intrigued.
MIKE
That’s a bold plan. But bold plans
attract bold investors. If you can
pull it off, you might just have a
shot.
Kirk stands up, extending his hand.
KIRK
Then let’s get to work.
They shake hands, sealing the deal.
CUT TO:
THE PITCH – ARMENIAN COMMUNITY HALL
Genres:
["Drama","Biographical"]
Ratings
Scene
19 -
Kirk's Vision Takes Flight
INT. COMMUNITY HALL – NIGHT
Kirk stands at the front of a packed room, addressing a crowd
of Armenian businessmen and community leaders. Mike stands by
his side, holding a stack of prospectuses.
KIRK
Ladies and gentlemen, thank you for
coming tonight. I’m here to talk to
you about an opportunity. An
opportunity to be part of something
big. Something that will not only
benefit us but also make our
community proud.
He pauses, looking around the room.
KIRK (CONT’D)
I’ve built an airline from nothing.
From one plane to a fleet. From a
dream to a reality. But now, I need
your help to take it to the next
level.
He gestures to Mike, who hands out the prospectuses.
KIRK (CONT’D)
We’re offering shares in the
company. A chance to invest in the
future of aviation. A chance to be
part of something that will change
the way people travel.
The crowd murmurs, intrigued. One man raises his hand.
MAN
Kirk, we know you’ve got vision.
But what’s the plan? How are you
going to make this work?
Kirk smiles, ready for the question.
KIRK
We’re going to buy the latest jets.
Open new routes. Expand our
operations. And we’re going to do
it with the support of this
community. With your support.
The crowd nods, impressed. Another man stands up.
MAN 2
I’m in. If anyone can pull this
off, it’s you, Kirk.
The room erupts in applause as people line up to invest.
CUT TO:
THE NEW ERA – TRANS INTERNATIONAL AIRLINES
Genres:
["Drama","Biography"]
Ratings
Scene
20 -
A New Dawn of Success
EXT. LAX AIRPORT – SUNRISE
ESTABLISHING SHOT:
The camera pans across a pristine fleet of Lockheed
Constellation jets lined up on the tarmac, their sleek silver
bodies gleaming in the golden morning light. The tail fins
proudly display the bold red-and-gold TIA logo. Ground crews
in crisp uniforms move with purpose, fueling the planes and
loading luggage. The hum of engines and the occasional roar
of a jet taking off fills the air.
CUT TO:
INT. TIA TERMINAL – DAY
The newly built terminal is a marvel of modern design—chrome
accents, polished floors, and large windows that flood the
space with natural light. A massive mural of a globe with
TIA’s routes mapped in gold dominates one wall. Travelers in
1940s-era suits and hats bustle about, their faces filled
with excitement.
KIRK (mid-30s), wearing a sharp navy suit, and ROSE (his
sister), in a tailored dress and pearls, stand at the
entrance, greeting a group of ARMENIAN INVESTORS—older men in
fedoras and overcoats, their faces alight with pride.
KIRK
(in Armenian, subtitled)
Welcome, my friends. This is your
victory as much as mine.
An elderly investor, MR. NAZARIAN, steps forward, gripping
Kirk’s hand with both of his.
MR. NAZARIAN
(in Armenian)
Kirk, you’ve done it. You’ve made
us all proud.
ROSE
(smiling warmly)
Let us show you what your faith in
us has built.
She gestures to a large window overlooking the tarmac. The
investors press closer, their eyes widening as a TIA jet
taxis down the runway and soars into the sky.
CUT TO
CLOSE-UP
Kirk and Rose watch the plane disappear into the clouds.
Rose’s eyes glisten with tears.
ROSE (CONT’D)
(softly)
Remember when we were
packing crates in
Montebello? Now look at
us.
Kirk turns to her, his tough exterior softening.
KIRK
None of this happens without you,
Rose. You kept me grounded when I
wanted to fly too close to the sun.
He pulls her into a warm, heartfelt hug. The investors clap
and cheer in the background.
ROSE
(muffled, laughing)
Just don’t let it go to your head,
brother.
KIRK
(grinning)
No promises.
CUT TO WIDE SHOT
The terminal hums with life—passengers checking in, pilots in
uniform striding purposefully, and the TIA jets standing like
sentinels of progress.
VOICEOVER KIRK
Success isn’t just about building
empires. It’s about lifting up the
people who believed in you when you
had nothing but a dream.
FADE OUT.
THE THUNDERBIRD RESORT – 1954
Genres:
["Drama","Historical","Biographical"]
Ratings
Scene
21 -
A Night of New Beginnings
EXT. THUNDERBIRD RESORT – NIGHT
ESTABLISHING SHOT:
The camera pans over the neon-lit Las Vegas Strip, the
Thunderbird Resort glowing like a jewel in the desert night.
The sound of jazz music and laughter spills out into the warm
evening air.
CUT TO:
INT. THUNDERBIRD RESORT – NIGHT
The resort’s lounge is alive with energy. A live band plays
on stage, and couples dance under the shimmering lights.
Kirk, now in his late 30s, sits at the bar, nursing a drink.
He’s dressed in a sharp suit, but his expression is
thoughtful, almost distant.
VOICEOVER (KIRK)
I was twenty five when I married my first wife Hilda, met her
at a night club in the neighborhood. Needless to say that
didn't last to long. Then there was Jean Maree!
The camera shifts to the stage, where JEAN MAREE HARDY, a
stunning dancer in her mid-20s, takes the spotlight. She’s
graceful, confident, and radiant, her movements captivating
the audience.
Kirk watches her, his drink forgotten.
VOICEOVER KIRK
Jean Maree Hardy. She was like a
spark in the night, lighting up
everything around her.
Jean finishes her performance to thunderous applause. She
steps off the stage, and Kirk, almost without thinking,
stands and approaches her.
KIRK
That was incredible. You’re
incredible.
Jean smiles, slightly out of breath but glowing.
JEAN
Thank you. I don’t think we’ve met.
KIRK
Kirk Kerkorian. I own a few planes.
And maybe, one day, a few casinos.
Jean laughs, charmed by his confidence.
JEAN
Ambitious, aren’t you?
KIRK
You have no idea.
They share a smile, the connection between them immediate and
electric.
CUT TO:
Genres:
["Drama","Romance"]
Ratings
Scene
22 -
Fate Under the Neon Lights
EXT. THUNDERBIRD RESORT – NIGHT
Kirk and Jean walk outside, the cool night air a welcome
contrast to the heat of the lounge. They stop by the pool,
the water reflecting the neon lights of the Strip.
JEAN
So, Kirk Kerkorian, what brings you
to Las Vegas?
KIRK
Business, mostly. But tonight, I
think it might be fate.
Jean raises an eyebrow, amused.
JEAN
Fate, huh? That’s a bold statement.
Kirk shrugs, his smile genuine.
KIRK
I’m a bold man.
Jean laughs, the sound light and musical.
JEAN
I can see that. So, what do you do
when you’re not charming dancers at
resorts?
KIRK
I fly. I build. I dream. And
tonight, I’m hoping to take you to
dinner.
Jean studies him for a moment, then nods.
JEAN
Alright, Mr. Kerkorian. Let’s see
if you can live up to the hype.
CUT TO:
INT. RESTAURANT – NIGHT
Kirk and Jean sit at a cozy table, sharing a meal and
conversation. The chemistry between them is palpable.
VOICEOVER (KIRK,
OLDER)
I didn’t know it then, but Jean was exactly what I needed.
She was strong, independent, and full of life. She saw the
world in a way I never could, and she made me want to see it
too.
Jean leans forward, her eyes sparkling.
JEAN
So, Kirk, what’s your dream? What do you want more than
anything?
Kirk pauses, his expression serious.
KIRK
I want to build something that lasts. Something that matters.
But I think I’ve been missing the most important part.
JEAN
And what’s that?
KIRK
Someone to share it with.
Jean smiles, her hand reaching across the table to take his.
JEAN
Well, maybe you’ve found her.
CUT TO:
EXT. LAS VEGAS STRIP – NIGHT
Kirk and Jean walk hand in hand down the Strip, the neon
lights casting a colorful glow over them.
VOICEOVER (KIRK)
That night, I realized something
Success isn’t just about money or
power. It’s about finding someone
who makes you want to be better.
And Jean did that for me.
FADE OUT
THE STRIP – LAS VEGAS (1960S)
EXT. HOWARD HUGHES’ OFFICE – DAY
Kirk, now in his 40s, steps out of a sleek office building,
his face a mix of frustration and determination. His friend
and confidant, JAMES ALJIAN, waits by Kirk’s pickup truck,
leaning against the hood.
JAMES
No luck, huh?
Kirk shakes his head, climbing into the driver’s seat.
James gets in the passenger side, and Kirk starts the engine.
JAMES
So what now? You’ve been talking
about this for months.
Kirk grips the steering wheel, his eyes scanning the bustling
Las Vegas Strip as they drive.
KIRK
There’s always another way. We just
have to find it.
Genres:
["Drama","Romance"]
Ratings
Scene
23 -
Vision Amidst the Barren Landscape
EXT. LAS VEGAS STRIP – DAY
Kirk drives slowly down the Strip, his eyes darting to the
neon signs, the construction sites, and the throngs of
tourists. James watches him, curious.
JAMES
What are you looking for, Kirk?
Kirk doesn’t answer right away. His gaze shifts to the empty
lots and undeveloped land behind the Strip.
KIRK
Who owns that land back there,
James?
James follows Kirk’s gaze, squinting at the barren plots
behind the casinos.
JAMES
I think it’s for sale. Why? What
are you going to do with it? It’s
just dirt.
Kirk smirks, a spark of excitement in his eyes.
KIRK
This place is growing like crazy.
The only place in the U.S. were you
can legally gamble. And you know
what all these casinos are going to
need?
James raises an eyebrow.
JAMES
What?
KIRK
Parking. Lots of it.
James laughs, shaking his head.
JAMES
Parking? You’re kidding, right?
Kirk pulls the truck into an empty lot near a casino under
construction. He steps out, gesturing to the vast expanse of
undeveloped land behind the Strip.
KIRK
We buy all this land back here.
Every square inch of it. Then, when
these casinos realize they need
space for parking, we sell it to
them—or trade it for access to the
Strip.
James steps out of the truck, looking around skeptically.
JAMES
You really think this is going to
work?
Kirk grins, his confidence unwavering.
KIRK
This place is going to grow big and
juicy, James. Like my dad’s
watermelons.
James chuckles, shaking his head.
JAMES
You’re crazy, Kirk. But if anyone
can pull this off, it’s you.
Kirk claps James on the back, his eyes already scanning the
horizon, imagining the future.
KIRK
Let’s get to work.
EXT. EMPTY LOT – SUNSET
Kirk stands alone in the middle of the empty lot, the sun
setting behind him, casting a golden glow over the desert.
The sounds of construction and the distant hum of the Strip
fill the air.
VOICEOVER (KIRK)
Some people see dirt. I see
opportunity. Some people see risk.
I see reward. And some people see
the end of the road. I see the
beginning.
The camera pulls back, showing Kirk dwarfed by the vast,
empty landscape.
But in his eyes, we see the future—a skyline of towering
casinos, bustling crowds, and endless possibility.
FADE OUT.
EXT. FLAMINGO HOTEL – NIGHT
ESTABLISHING SHOT
The camera pans over the neon-lit Las Vegas Strip, the
Flamingo Hotel glowing like a jewel in the desert night. The
iconic pink flamingo sign flickers slightly, a reminder of
the hotel’s storied past under mobster Bugsy Siegel.
CUT TO:
Genres:
["Drama","Business"]
Ratings
Scene
24 -
The High Stakes Negotiation
INT. FLAMINGO HOTEL – PRIVATE LOUNGE – NIGHT
The lounge is dimly lit, with plush red velvet chairs and a
haze of cigar smoke. Kirk sits across from VINNY THE FIXER
MARCONI, a slick, well-dressed mobster with a gold pinky ring
and a dangerous smile. Two of Vinny’s enforcers stand in the
shadows, their presence looming.
VINNY
Kirk Kerkorian. The man with the
planes. What brings you to the
Flamingo?
Kirk leans back, his expression calm but calculating.
KIRK
I’m here to make a deal, Vinny. I
want to buy the Flamingo.
Vinny laughs, a low, menacing sound.
VINNY
The Flamingo? That’s a big ask,
Kirk. This place has history. Bugsy
Siegel built it with blood and
sweat. You think you can just walk
in and take it?
Kirk doesn’t flinch.
KIRK
I’m not here to take it. I’m here
to buy it. Fair and square.
Vinny’s smile fades, his eyes narrowing.
VINNY
(Fair and square? In this
town? You’ve got guts,
Kirk. I’ll give you that.
But guts don’t always pay
the bills.)
Kirk leans forward, his voice steady.
KIRK
I’m not here to play games, Vinny.
I’m here to do business. And I’m
willing to pay top dollar. All the
stock holders are ready to sell but
you wise guys.
Vinny studies him for a moment, then nods to one of his
enforcers, who steps forward and places a briefcase on the
table. Vinny opens it, revealing stacks of cash.
VINNY
This is what we’re talking about,
Kirk. Real money. Real power. You
want the Flamingo? You’re going to
have to play by our rules.
Kirk looks at the money, then back at Vinny.
KIRK
Look Vincent lets get down to
reality. Gambino sent you here to
make money and you’ve done a great
job! But how long before the feds
step in and stop the skimming?
Vinny’s expression darkens, his voice dropping to a growl.
VINNY
You’re treading on thin ice, Kirk.
This town doesn’t take kindly to
outsiders who think they can waltz
in and take over.
Kirk stands, his demeanor calm but firm.
KIRK
I’m not an outsider, Vinny. I’m the
future. And if you’re smart, you’ll
get out of my way.
The room falls silent, the tension thick enough to cut with a
knife. Vinny’s enforcers step forward, but Kirk doesn’t
flinch.
VINNY
You’ve got some big balls, Kirk.
Kirk smiles, his confidence unwavering.
KIRK
No I have a big check book.
He turns and walks out of the lounge, the sound of Vinny’s
laughter echoing behind him.
CUT TO:
Genres:
["Drama","Crime"]
Ratings
Scene
25 -
Confronting the Mob
INT. KIRK’S OFFICE – DAY
Kirk sits at his desk, surrounded by legal documents and
financial reports. His lawyer, SAM, and his CFO, CAROL, are
with him, looking stressed but determined.
SAM
Kirk, the deal is solid. We’ve got
the financing, and the sellers are
ready to sign. But there’s one
problem.
Kirk looks up, his expression calm.
KIRK
What’s the problem?
CAROL
The mob. They’re not happy about
this. They’ve been leaning on the
sellers, trying to scare them off.
Kirk leans back in his chair, his mind racing.
KIRK
Then we’ll make them an offer they
can’t refuse.
Sam and Carol exchange worried glances.
SAM
Kirk, this is dangerous. These guys
don’t play by the rules.
Kirk stands, his expression resolute.
KIRK
Neither do I.
CUT TO
EXT. DESERT ROAD – NIGHT
Kirk stands by his car, the desert stretching out around him.
A black sedan pulls up, and Vinny steps out, flanked by his
enforcers.
VINNY
You’ve got a lot of nerve, Kirk.
Meeting me out here.
Kirk shrugs, his expression calm.
KIRK
I figured we could talk without
prying eyes.
Vinny steps closer, his voice low and dangerous.
VINNY
You’re playing a dangerous game,
Kirk. You think you can just waltz
in and take the Flamingo? This town
belongs to us.
Kirk doesn’t flinch.
KIRK
This town belongs to whoever’s
willing to take it. And I’m
willing.
Vinny’s eyes narrow, his hand twitching toward his pocket.
VINNY
You’re making a big mistake, Kirk.
Kirk steps forward, his voice steady.
KIRK
No, Vinny. You are. Because if you
try to stop me, you’ll regret it.
The two men stare each other down, the tension palpable.
Finally, Vinny steps back, a grudging respect in his eyes.
VINNY
You’ve got guts, Kirk. I’ll give
you that. But guts don’t always
keep you alive.
Kirk smiles, his confidence unwavering.
KIRK
Come on Vincent you know who I am
and you know who my friends are!
Kirk gets back in his car and drives away.
VOICE OVER KIRK
I had enough of Vinny Marconi! I
had the Law on my side and he knew
it.
CUT TO:
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
26 -
Turf Wars and Tensions
INT. MARCONI’S OFFICE – NIGHT
ESTABLISHING SHOT
The camera pans over a dimly lit, smoke-filled office. The
walls are adorned with old photos of Las Vegas and framed
newspaper clippings about Bugsy Siegel. A group of mob bosses
sits around a large table, their faces grim and their voices
low.
CUT TO:
CLOSE-UP – VINNY THE FIXER MARCONI
Vinny leans back in his chair, a cigar clenched between his
teeth. His gold pinky ring glints in the low light as he
gestures angrily.
VINNY
This Kerkorian guy… he’s got big
balls, I’ll give him that.
(MORE)
VINNY (CONT’D)
But he’s stepping on our turf. The
Flamingo? That’s our history. Bugsy
built that place with blood and
sweat. And now this crazy little
Armenian thinks he can just waltz
in and take it?
The other mob bosses exchange uneasy glances. One of them,
TONY THE OLD MAN RICCI, a grizzled veteran with a cane and a
scar across his cheek, speaks up.
TONY
Maybe he’s got a point, Vinny.
Times are changing. The feds are
breathing down our necks. They’re
gonna push us out sooner or later.
Vinny slams his fist on the table, his face red with anger.
VINNY
Push us out? This is our town! We
built this place from nothing!
Vegas is ours!
Another boss, SAL THE SILENT LOMBARDI, a quiet but imposing
figure, leans forward.
SAL
Vinny, the old man’s right. The
feds are closing in. We can’t fight
them and Kerkorian. Maybe it’s time
to cut our losses.
Vinny glares at Sal, his voice dripping with venom.
VINNY
Cut our losses? You sound like a
damn accountant, Sal. This isn’t
about money. This is about respect.
Power. And Kerkorian’s taking it
from us.
TONY
Respect don’t mean much when you’re
behind bars, Vinny. Kerkorian’s
playing a different game. He’s got
the banks, the lawyers, the
politicians. We’re dinosaurs, and
he’s the meteor.
Vinny stands, his chair scraping loudly against the floor.
VINNY
So what? We just roll over and let
him take everything? Is that what
you’re saying?
The room falls silent, the tension thick enough to cut with a
knife. Finally, CARLO THE BRAIN MARTINO, a sharp-dressed,
calculating figure, speaks up.
CARLO
We’re not saying that, Vinny. But
we need to be smart. Kerkorian’s
not some two-bit hustler. He’s got
connections, resources. If we go
after him, it’s gonna be messy.
Vinny paces the room, his frustration boiling over.
VINNY
Messy? You think I care about
messy? This guy’s a threat. And if
we don’t deal with him now, he’s
gonna take everything we’ve built.
TONY
And what if dealing with him brings
the feds down on us? You think
they’re not watching him? You think
they’re not watching us?
Vinny stops pacing, his eyes blazing.
VINNY
I don’t care about the feds! This
is our town! And I’m not gonna let
some Armenian camel jockey take it
from us!
The room erupts into arguments, the mob bosses shouting over
each other. Carlo slams his hand on the table, silencing the
room.
CARLO
Enough! We’re not getting anywhere
like this. We need to think this
through. Carefully.
Vinny glares at Carlo, his voice low and dangerous.
VINNY
Think it through? While Kerkorian’s
out there building his empire? No.
We act. Now.
TONY
(First of all Vincent
there are no camels in
Armenia! And if your
thing backfires? What
then, Vinny? You gonna
take the fall for all of
us?)
Vinny stares at Tony, his jaw clenched.
VINNY
If it comes to that, yeah. I’ll
take the fall. But I’m not gonna
sit back and let this guy take
what’s ours.
The room falls silent again, the mob bosses exchanging uneasy
glances. Finally, Carlo speaks up.
CARLO
We’ll put it to a vote. All in
favor of dealing with Kerkorian,
raise your hand.
Vinny raises his hand immediately, his expression defiant. A
few others hesitate, then raise their hands as well. But
Tony, Sal, and a few others keep their hands down.
CARLO (CONT’D)
It’s settled. For now, we do
nothing. But we keep an eye on
Kerkorian. If he steps out of line,
we act.
Vinny slams his fist on the table, his face red with anger.
VINNY
This is a mistake. A big mistake.
One of the soldiers is smiling about the camel remark
VINNY (CONT’D)
What are you smiling about?
The soldier gets serious very quickly.
SOLDIER
Nothing Boss its just camels are in
Arabia.
Vinny moves to slap him.
CUT TO:
Genres:
["Crime","Drama"]
Ratings
Scene
27 -
Clash of Ambitions
EXT. MARCONI’S OFFICE – NIGHT
Vinny storms out of the office, his enforcers trailing behind
him. He stops, looking out over the neon-lit Las Vegas Strip,
his face a mix of anger and determination.
VINNY
Kerkorian thinks he’s untouchable.
But he’s about to learn the hard
way… this town belongs to us.
FADE OUT.
INT. FLAMINGO HOTEL – BOARDROOM – DAY
Kirk sits at a large table, surrounded by lawyers, sellers,
and executives. The atmosphere is tense but professional.
Kirk signs the final document, sealing the deal.
CUT TO:
EXT. LAS VEGAS STRIP – NIGHT
Kirk stands outside the Flamingo Hotel, the neon lights
reflecting in his eyes. The camera pulls back, showing the
bustling Strip and the endless possibilities ahead.
VOICEOVER KIRK
I didn’t come this far to
let someone else control
my destiny. I built my
empire on my own terms,
and I wasn’t about to let
anyone take that away
from me. My father
trusted the banks and
look what they did to
him!
CUT TO:
INT. KIRK’S OFFICE – NIGHT
Kirk sits at his desk, staring at a blueprint for the
Caesar's Palace. His friend and confidant, JAMES ALJIAN,
enters, looking concerned.
JAMES
How did it go with MARCONI,?
Kirk looks up, his expression resolute.
KIRK
He made his offer. I turned it
down.
James raises an eyebrow.
JAMES
You know what that means, right?
They’re not going to take no for an
answer.
Kirk leans back in his chair, his eyes steely.
KIRK
Let them try. I’ve faced worse than
MARCONI, . I didn’t come this far
to let the mob dictate my future.
James nods, impressed but still worried.
JAMES
Just be careful, Kirk. These guys
don’t play by the rules.
Kirk smirks, his confidence unwavering.
KIRK
Neither do I. The deals done James
we own the Flamingo!
JAMES
Really! Your kidding?
Kirk puts on the biggest smile ever.
JAMES (CONT’D)
You got it ! Unbelievable!
CUT TO:
EXT. LAS VEGAS DESERT – NIGHT
Kirk stands in the middle of the desert, the lights of the
Strip glowing in the distance.
VOICEOVER KIRK
I didn’t know it then, but that
decision defined me. It wasn’t just
about building an empire. It was
about doing it the right way. And
in the end, that’s what mattered
most.
FADE OUT.
Genres:
["Drama","Crime","Thriller"]
Ratings
Scene
28 -
Kirk's Vision for Las Vegas
EXT. LAS VEGAS STRIP - DAY (1962)
The desert sun blazes overhead, casting long shadows over a
barren 80-acre plot across from the bustling Flamingo Hotel.
A weathered FOR SALE sign creaks in the wind.
KIRK KERKORIAN, mid-40s, stands in the sand, adjusting his
sunglasses. Beside him, his sister ROSE holds a clipboard
while JAMES ALJIAN wipes sweat from his brow.
JAMES
Kirk, I gotta say it again... this
is crazy. Eighty acres of dirt? For
almost a million bucks?
KIRK
Not dirt, James. Future goldmine.
He gestures to the Flamingo across the street, where tourists
stream in and out.
KIRK (CONT’D)
Look at that. Sinatra, Dean Martin,
the Rat Pack... They draw the
crowds. But where do the crowds
stay? Where do they gamble?
ROSE
There are plenty of casinos
already.
Kirk kneels, picking up a handful of sand and letting it
trickle through his fingers.
KIRK
Not like what's coming. Vegas is
evolving. The middle class is
discovering it. Families.
(MORE)
KIRK (CONT’D)
Not just high rollers. This isn't
just a playground for mobsters
anymore.
James squints at the Flamingo.
JAMES
So what are you thinking?
KIRK
I'm thinking...a Roman palace.
Something grand, extravagant. Make
every person who walks through the
door feel like Caesar himself.
Rose and James exchange skeptical glances.
ROSE
Who's gonna build it?
KIRK
Jay Sarno and Stanley Mallin. They
don't know it yet, but they're
going to lease this land and build
the best damn resort this strip has
ever seen.
James chuckles.
JAMES
And how are you gonna convince 'em?
Kirk stands, brushing sand from his hands.
KIRK
Simple. I sell them the dream.
CUT TO:
Genres:
["Drama","Historical"]
Ratings
Scene
29 -
The Visionary Pitch
INT. LAS VEGAS STEAKHOUSE - NIGHT
Dark wood, red leather booths. JAY SARNO, 40s, loud and
gregarious, talks with STANLEY MALLIN, reserved but sharp-
eyed. Kirk sits across from them, a napkin with scribbles
laid flat.
KIRK
You want to build something
legendary? This is it. Eighty acres
across from the Flamingo. A blank
canvas.
SARNO
The Strip's got enough casinos,
Kerkorian.
Kirk points to his sketches: columns, fountains, statues.
KIRK
Not like this. A Roman-themed
resort. Caesars Palace. Opulence.
Grandeur. People pay for an
experience. This will be an empire.
Sarno leans in, intrigued.
SARNO
Yeah? And how do we fund this
empire?
KIRK
The Teamsters Pension Fund. They've
financed bigger risks. I'll handle
the land. You handle the build. We
split the profits you pay me
monthly rent and a cut of the
casino revenue.
Sarno and Mallin exchange glances.
MALLIN
And if it flops?
Kirk smiles.
KIRK
Vegas isn't built on caution. If
you're going to gamble, bet big.
CUT TO:
MONTAGE:
Kirk signing paperwork at a real estate office.
Bulldozers clearing the desert lot.
Sarno and Mallin studying blueprints.
A massive sign goes up: COMING SOON: CAESARS PALACE.
VOICEOVER (KIRK, OLDER)
In Vegas, you don't wait for
opportunities. You create them. I
bought that land for $960,000.
(MORE)
VOICEOVER (KIRK, OLDER) (CONT'D)
By the time Caesars Palace opened,
it was worth millions.
CUT TO:
Genres:
["Drama","Biography"]
Ratings
Scene
30 -
Vision and Ambition: The Rise of Kerkorian
EXT. CAESARS PALACE GRAND OPENING - NIGHT (1966)
Fountains erupt. Fireworks explode. Crowds line up beneath
marble columns. Reporters snap photos as Kirk, Rose, Jay
Sarno, and Stanley Mallin pose together.
REPORTER
(Mr. Kerkorian! You took a
gamble on this land. How
does it feel tonight?)
Kirk adjusts his tie, glancing up at the towering resort.
KIRK
I never gamble. I invest.
FADE OUT.
TEXT ON SCREEN
In 1968, Kirk Kerkorian sold the land beneath Caesars Palace
for $5 million, turning a $960,000 investment into $9 million
in just six years.
FADE OUT.
EXT. VACANT LOT - DAY (1967)
Kirk stands on another empty lot, this one even larger. Rose
and James are with him, their expressions a mix of excitement
and apprehension.
ROSE
Kirk... this is bigger than
Caesars. Way bigger. Where's the
money going to come from?
KIRK
I'm selling the airline and the
money from the Cezar's deal.
JAMES
The banks won't like it.
KIRK
Then we don't go to the banks. We
go to Wall Street. We sell stocks.
CUT TO:
FINANCING THE INTERNATIONAL HOTEL – 1967
INT. KIRK'S OFFICE – DAY
A large map of Las Vegas is pinned to the wall. Financial
reports, property deeds, and architectural sketches are
scattered across the desk. KIRK KERKORIAN sits behind it,
deep in thought. JAMES ALJIAN and ROSE stand nearby,
analyzing the numbers.
JAMES
Kirk, this is big. The biggest
thing you’ve ever done. Eighty-two
acres, right next to the Convention
Center—it’s prime real estate, but
sixty million dollars to build?
Where are we going to find that
kind of money?
ROSE
And let’s not forget, you just
bought the Flamingo. You’re already
leveraged.
Kirk leans back, his sharp eyes scanning the figures in front
of him. He’s composed, but the weight of the decision is
evident.
KIRK
We’re not looking at what we have.
We’re looking at what we can
create.
He picks up a document labeled International Leisure
Corporation.
KIRK (CONT’D)
I’m rolling everything under this.
The Flamingo, the new land, the
casino operations—it all becomes
one entity. That gives us leverage.
JAMES
A corporation? That makes sense,
but it still doesn’t give us sixty
million dollars.
KIRK
We take it public.
Rose and James exchange glances. Rose folds her arms,
skeptical.
ROSE
A public offering? That’s a risk,
Kirk. Investors want guarantees.
They want stability.
KIRK
What they want is a piece of
something they know will be
successful. Vegas is growing. The
Strip is expanding. And I’m giving
them something no one else has—the
biggest, grandest hotel in the
world.
James runs a hand through his hair, nodding slowly as he
considers it.
JAMES
Okay, let’s say we raise a chunk of
the money through an IPO. That
still won’t cover everything.
KIRK
We sell assets. The plane, the
yacht—luxuries can wait. The
International can’t.
ROSE
That’s not going to be enough.
Kirk smirks, flipping through a folder labeled Hilton Hotels.
KIRK
Then we bring in Hilton.
James freezes. Rose raises an eyebrow.
JAMES
You’re talking about selling a
stake?
KIRK
A piece. Enough to bring in the
capital, but not enough to lose
control.
ROSE
You’re going to sell them part of
your vision?
Kirk leans forward, eyes razor-sharp.
KIRK
I’m going to make them believe in
it.
CUT TO:
SCENE 56 MEETING WITH HILTON HOTELS – BOARDROOM – NIGHT
A dimly lit boardroom. Kirk sits across from a panel of
HILTON EXECUTIVES, including CONRAD HILTON himself. A model
of the International Hotel sits at the center of the table.
James and Rose flank Kirk, silent but attentive.
CONRAD HILTON
Kirk, you’re ambitious. But this?
This is enormous. The financing
alone—
KIRK
Its handled. The IPO launches in a
month. I’ll raise at least twenty-
six million. I’ve sold off personal
assets to cover operational costs.
What I need is a partner who sees
the future.
Hilton leans back, studying the model.
CONRAD HILTON
You’re asking for nearly twenty
million from us.
Kirk nods, unwavering.
KIRK
And in return, you get a stake in
the largest hotel in the world.
Silence. James watches Hilton, gauging his reaction. Rose
breaks in, her voice calm but persuasive.
ROSE
Mr. Hilton, this isn’t just another
casino. It’s a landmark. A place
that will redefine Vegas.
Hilton considers this. He glances at his executives, then
back at Kirk.
CONRAD HILTON
You really believe this will work?
Kirk smirks.
KIRK
I don’t believe. I know.
CUT TO:
SIGNING THE DEAL – KIRK'S OFFICE – DAY
A contract is signed. Hands are shaken. James and Rose
exchange looks of triumph as Kirk nods in satisfaction.
VOICE OVER KIRK
Financing wasn’t about finding
money. It was about making people
believe.
FADE OUT.
Genres:
["Drama","Biography"]
Ratings
Scene
31 -
Dreams and Discontent
EXT. INTERNATIONAL HOTEL - GRAND OPENING NIGHT (1969)
Fireworks explode over the gleaming facade of the
International Hotel. Crowds gather, and cameras flash as
ELVIS PRESLEY steps onto the stage.
REPORTER
Mr. Kerkorian! You built the
biggest hotel in the world. What's
next?
Kirk looks up at the towering structure and smiles.
KIRK
Bigger dreams.
FADE OUT.
TEXT ON SCREEN
The International Hotel opened in 1969 with 1,512 rooms—the
largest hotel in the world. Elvis Presley performed a record-
breaking 58-show engagement.
FADE OUT
THE FAMILY STRUGGLE – 1970s
EXT. BEVERLY HILLS MANSION – DAY
ESTABLISHING SHOT
The camera pans over a sprawling Beverly Hills mansion, its
pristine lawns and towering palm trees exuding wealth and
success. The sound of birds chirping and a fountain trickling
fills the air.
CUT TO:
INT. KITCHEN – DAY
The kitchen is bright and modern, but the atmosphere is
tense. JEAN MAREE HARDY, Kirk’s wife, stands at the counter,
her arms crossed as she listens to their two daughters, TRACY
(teenager) and LINDA (pre-teen), vent their frustrations.
TRACY
He missed my recital again. Do you
know how embarrassing it is to tell
my friends my dad couldn’t make it
because he was ‘too busy’?
LINDA
He didn’t even call on my birthday.
Not even a card. It’s like he
doesn’t even care.
Jean sighs, her frustration evident.
JEAN
I know, girls. I know. Your father…
he’s just wrapped up in his work.
He doesn’t mean to hurt you.
TRACY
Then why does he keep doing it? Why
does he always choose work over us?
Jean doesn’t have an answer. She looks out the window, her
face a mix of anger and sadness.
JEAN
I don’t know, Tracy. I really don’t
know.
CUT TO:
Genres:
["Drama"]
Ratings
Scene
32 -
The Cost of Absence
EXT. DRIVEWAY – DAY
Kirk pulls up in a Black Cadillac coupe de vile, his face lit
with excitement. He steps out, carrying a bouquet of flowers
and a gift bag, clearly in a good mood.
CUT TO:
INT. KITCHEN – DAY
Kirk enters the kitchen, his smile fading as he senses the
tension in the room.
KIRK
Hey, everyone! Look what I brought—
He stops mid-sentence as Tracy and Linda glare at him. Jean
turns, her expression cold.
JEAN
Oh, look. The man of the hour
finally decides to grace us with
his presence.
Kirk sets the flowers and gift bag on the counter, his smile
faltering.
KIRK
What’s going on?
TRACY
What’s going on? You missed my
recital, that’s what’s going on!
LINDA
And you forgot my birthday. Again.
Kirk looks at Jean, confused.
KIRK
I… I didn’t forget. I just got
caught up with work. I’m sorry,
girls. I’ll make it up to you, I
promise.
JEAN
That’s what you always say, Kirk.
But you never do. You’re never
here. You’re always ‘caught up with
work.’
Kirk’s face hardens, his defensiveness kicking in.
KIRK
I’m building something, Jean.
Something that will last. Something
that will provide for this family.
Jean steps forward, her voice rising.
JEAN
We don’t need more money, Kirk. We
need you. Your daughters need you.
I need you.
Kirk looks at Tracy and Linda, their faces filled with hurt
and disappointment.
KIRK
I’m doing this for you. For all of
us.
TRACY
No, Dad. You’re doing this for you.
You don’t care about us. You just
care about your stupid business.
Kirk flinches, the words hitting him like a punch.
KIRK
That’s not true, Tracy. I love you.
All of you.
JEAN
Then prove it, Kirk. Be here. Be
present. Because right now, it
feels like we’re just an
afterthought.
The room falls silent, the weight of her words hanging in the
air. Kirk looks around at his family, his expression a mix of
guilt and frustration.
KIRK
I… I don’t know how to do both. How
to be the man I need to be and the
man you need me to be.
Jean’s voice softens, but her eyes are still filled with
pain.
JEAN
Then figure it out, Kirk. Because
if you don’t, you’re going to lose
us.
CUT TO:
EXT. BEVERLY HILLS MANSION – NIGHT
Kirk stands alone on the balcony, staring out at the city
lights. The sound of his family’s voices echoes in his mind.
VOICEOVER (KIRK, OLDER)
I thought I was doing the right
thing. Building a legacy, providing
for my family. But in the end, I
realized I was losing the very
thing I was trying to protect.
FADE OUT.
THE DEAL – KIRK’S OFFICE (1970S)
INT. KIRK’S OFFICE – DAY
The office is a hive of activity. Kirk sits at his desk,
surrounded by stacks of financial reports, blueprints, and
legal documents. His CFO, CAROL, and his confidant, JAMES
ALJIAN, are with him, looking stressed but determined.
CAROL
Kirk, we’ve got the numbers for the
International sale. The buyers are
ready, but they’re lowballing us.
If we don’t get the price we need,
the MGM Grand financing falls
apart.
Kirk leans back in his chair, his expression calm but
focused.
KIRK
Then we’ll make them see the value.
The International is a gold mine.
They just need to understand what
they’re buying.
James shakes his head, skeptical.
JAMES
Kirk, these guys aren’t amateurs.
They know what the International is
worth. They’re just trying to
squeeze us.
Kirk stands, pacing the room.
KIRK
Then we’ll squeeze back. Carol, get
the lawyers on the phone. Tell them
to renegotiate the terms. James,
set up a meeting with the buyers.
I’ll make them an offer they can’t
refuse.
Carol and James exchange worried glances.
CAROL
Kirk, this is risky. If the sale
falls through, we’re back to square
one.
Kirk stops pacing, his eyes blazing with determination.
KIRK
It’s not going to fall through.
We’ve come too far to turn back
now.
CUT TO:
Genres:
["Drama"]
Ratings
Scene
33 -
High-Stakes Negotiations
INT. CONFERENCE ROOM – DAY
Kirk sits across from the buyers, a group of sharp-dressed
executives. The atmosphere is tense, with both sides trying
to outmaneuver the other.
BUYER 1
Mr. Kerkorian, we’ve reviewed your
proposal. But the price is still
too high. We’re not willing to go
above $50 million.
Kirk leans forward, his voice calm but firm.
KIRK
The International is worth twice
that. And you know it. But I’m
willing to make a deal.
(MORE)
KIRK (CONT’D)
$60 million, and I’ll throw in the
land next door.
The buyers exchange glances, clearly intrigued but hesitant.
BUYER 2
And what about the MGM brand? Are
you retaining that?
Kirk nods, his expression unreadable.
KIRK
The MGM name stays with me. But
you’ll have the hotel, the casino,
and the land. It’s a fair deal.
The buyers huddle together, whispering. Finally, Buyer 1
speaks up.
BUYER 1
Alright, Mr. Kerkorian. $60
million, and the land. But we want
the deal signed by the end of the
week.
Kirk smiles, his confidence unwavering.
KIRK
You’ve got a deal.
CUT TO:
INT. KIRK’S OFFICE – NIGHT
Kirk sits at his desk, surrounded by Carol, James, and a team
of lawyers and financiers. The atmosphere is tense, with
everyone working frantically to finalize the financing for
the MGM Grand.
CAROL
Kirk, we’ve got the 60 million from
the International sale, but we
still need another 40 million to
break ground on the MGM Grand. The
banks are hesitant, and the
investors are getting cold feet.
Kirk leans back in his chair, his mind racing.
KIRK
Then we’ll go to the Teamsters.
They’ve got the money, and they’re
always looking for a good
investment.
James shakes his head, skeptical.
JAMES
The Teamsters? Kirk, you know their
money comes with strings attached.
Are you sure you want to get
involved with them again?
Kirk stands, his expression resolute.
KIRK
We don’t have a choice. The MGM
Grand is happening, no matter what.
CUT TO:
THE TEAMSTERS MEETING – PRIVATE ROOM (1970S)
INT. PRIVATE ROOM – DAY
Kirk sits across from JIMMY HOFFA JR. and a group of
Teamsters officials. The atmosphere is tense, with both sides
trying to outmaneuver the other.
HOFFA JR.
Mr. Kerkorian, you’re asking for a
lot of money. What makes you think
we should invest in your project?
Kirk leans forward, his eyes locked on Hoffa Jr.
KIRK
Because this isn’t just a hotel.
It’s a destination. A place where
people from all over the world will
come to experience the best that
Las Vegas has to offer. And when
they do, we’ll all make a lot of
money.
The officials exchange glances, intrigued but cautious.
HOFFA JR.
And what’s in it for us?
Kirk smiles, his confidence unwavering.
KIRK
A share of the profits. A stake in
the future of Las Vegas. And the
satisfaction of knowing you helped
build something truly
extraordinary.
The officials nod, impressed by Kirk’s vision and
determination.
HOFFA JR.
Alright, Mr. Kerkorian. You’ve got
a deal.
CUT TO
Genres:
["Drama","Business"]
Ratings
Scene
34 -
Ambitions at a Cost
INT. KIRK’S OFFICE – NIGHT
Kirk sits alone at his desk, staring at the blueprints for
the MGM Grand. The sound of the door opening breaks his
concentration. He looks up to see JEAN MAREE HARDY, his wife,
standing in the doorway.
JEAN
Kirk, it’s midnight. When are you
coming home?
Kirk sighs, running a hand through his hair.
KIRK
Soon. I just need to finish this.
Jean steps into the room, her expression a mix of concern and
frustration.
JEAN
You’ve been saying that for weeks.
The girls barely see you anymore.
Do you even remember the last time
we had dinner as a family?
Kirk looks at her, his face a mix of guilt and determination.
KIRK
I’m doing this for us, Jean. For
the girls. For our future.
Jean shakes her head, her voice softening.
JEAN
Our future is now, Kirk. And if
you’re not careful, you’re going to
miss it.
Kirk stands, walking over to her.
KIRK
I know it’s hard, Jean. But this is
important. The MGM Grand is going
to change everything.
Jean looks at him, her eyes filled with pain.
JEAN
Your Hotels are getting bigger and
better but you are flushing your
marriage and family down the
toilet.I just hope it’s worth it.
She turns and walks out of the room, leaving Kirk alone with
his thoughts.
CUT TO:
EXT. LAS VEGAS STRIP – NIGHT
Kirk stands on the balcony of the International Hotel,
looking out over the neon-lit Strip. The camera pulls back,
showing the bustling city and the endless possibilities
ahead.
VOICEOVER KIRK
Jean was right my projects were
getting bigger and better,
spectacular would be a better
description, but at what cost?
INT. KIRK’S OFFICE – NIGHT
The office is a chaotic mess. Blueprints for the MGM Grand
cover the walls, and the desk is buried under financial
reports, engineering schematics, and legal documents. Kirk,
visibly exhausted, paces the room, his tie loosened and his
sleeves rolled up. His CFO, CAROL, and his project manager,
MIKE, are with him, both looking equally stressed.
CAROL
Kirk, we’ve got a problem. The
structural engineers say the
foundation design won’t support the
weight of the theater. We either
need to reinforce it, which will
cost millions, or scrap the theater
altogether.
Kirk stops pacing, his face a mix of frustration and
determination.
KIRK
We’re not scrapping the theater.
That’s the centerpiece of the whole
damn project. Find a way to make it
work.
Mike steps forward, holding a set of blueprints.
MIKE
Kirk, even if we reinforce the
foundation, we’re looking at
delays. And delays mean more money.
The investors are already nervous.
If we go over budget—
Kirk cuts him off, his voice sharp.
KIRK
I don’t care about the investors. I
care about building something
extraordinary. Now, figure it out.
Carol and Mike exchange worried glances but nod reluctantly.
CUT TO
THE MGM STUDIO MEETING – CONFERENCE ROOM (1970S)
Genres:
["Drama"]
Ratings
Scene
35 -
Balancing Ambitions
INT. CONFERENCE ROOM – DAY
Kirk sits at the head of a table, surrounded by executives
from MGM Studios. The atmosphere is tense, with heated
arguments over the hotel’s theme and branding.
MGM EXEC 1
Mr. Kerkorian, we need the MGM
brand to be front and center. This
hotel is a reflection of the
studio, and we can’t afford to
dilute that.
Kirk leans forward, his voice calm but firm.
KIRK
This isn’t just about MGM. This is
about creating something iconic.
Something that stands on its own.
MGM EXEC 2
But the theme, Kirk. Are we going
classic Hollywood? Modern luxury?
Something else entirely?
Kirk stands, his frustration evident.
KIRK
The theme is Las Vegas. The
biggest, boldest, most
unforgettable experience in the
world. That’s what we’re selling.
MGM EXEC 2
We understand Mr Kerkorian But we
need to know some kind of theme?
KIRK
I understand we will do it front
and center like you want.
We will create the most spectacular entrance lobby ever
built. We will create a giant version of the MGM lion. And
add life size pictures of MGM stars through out the Resort
The executives all nod in agreement.
MGM EXECUTIVE 1
A golden Lion!
KIRK
Exactly!
Every one smiles in agreement.
CUT TO:
INT. KIRK’S HOME – NIGHT
Kirk sits alone in the living room, a glass of whiskey in his
hand. The house is quiet, but the tension is palpable. His
sister, ROSE, enters, carrying a tray of tea.
ROSE
You look terrible, Kirk. When was
the last time you slept?
Kirk sighs, running a hand through his hair.
KIRK
I don’t have time to sleep, Rose.
The MGM Grand is falling apart, the
studio’s breathing down my neck,
and Jean… she’s barely speaking to
me.
Rose sits down across from him, her expression sympathetic.
ROSE
Kirk, you can’t keep going like
this. You’re going to burn yourself
out. And for what? A hotel?
Kirk looks at her, his eyes filled with frustration.
KIRK
It’s not just a hotel, Rose. It’s
everything I’ve worked for.
Everything I’ve built.
Rose leans forward, her voice softening.
ROSE
And what about your family, Kirk?
What about Jean and the girls? They
need you too.
Kirk looks away, his voice hollow.
KIRK
I’m doing this for them, Rose. For
their future.
Rose shakes her head, her expression sad.
ROSE
What did Dad tell us Family is the
most important thing in Life.
Family comes fist!
Kirk looks at her, his face a mix of guilt and determination.
KIRK
I don’t know how to do both, Rose.
How to be the man I need to be and
the man they need me to be.
Rose places a hand on his arm, her voice gentle.
ROSE
Then figure it out, Kirk. Because
if you don’t, you’re going to lose
them.
CUT TO
Genres:
["Drama"]
Ratings
Scene
36 -
Building Dreams: The Rise of the MGM Grand
EXT. CONSTRUCTION SITE – DAY
Kirk stands on a platform, overlooking the massive
construction site. The skeleton of the MGM Grand towers over
the Strip, a testament to his vision and determination. But
the stress is starting to show.
VOICEOVER (KIRK, OLDER)
Building the MGM Grand was the
hardest thing I’ve ever done. Every
day was a battle—against budgets,
against egos, against the limits of
what people thought was possible.
CUT TO:
INT. CONSTRUCTION TRAILER – DAY
Kirk meets with Mike and the lead engineer, TOM, who looks
exhausted but determined.
TOM
We’ve hit another snag. The
plumbing systems are more complex
than we anticipated. It’s going to
cost more and take longer than we
planned.
Kirk nods, his expression calm but resolute.
KIRK
Then we’ll find a way. We always
do.
Mike looks at Kirk, his frustration boiling over.
MIKE
Kirk, we’re running out of time and
money. At some point, we have to
face the fact that this might not
work.
Kirk steps forward, his voice low but intense.
KIRK
It will work. Because failure is
not an option. Not for me. Not for
this hotel.
CUT TO:
EXT. MGM GRAND – NIGHT
The MGM Grand is lit up like a beacon, its iconic lion logo
towering over the Strip. A red carpet is rolled out, and
celebrities, politicians, and high-rollers pour into the
hotel. Kirk stands at the entrance, greeting guests with a
smile.
VOICEOVER KIRK
When the MGM Grand opened, it was
more than just a hotel. It was a
statement. A symbol of what Las
Vegas could be.
CUT TO:
INT. MGM GRAND CASINO – NIGHT
Kirk walks through the bustling casino, the sound of slot
machines and laughter filling the air. He stops at a roulette
table, watching as a guest places a bet.
VOICEOVER KIRK
It was the biggest hotel in the
world, and it put me on the map.
But it also taught me something
important: Success isn’t just about
building something big. It’s about
building something that lasts.
FADE OUT.
Genres:
["Drama","Biography"]
Ratings
Scene
37 -
Roots and Ambitions
EXT. LAS VEGAS STRIP – DAY
ESTABLISHING SHOT:
The camera pans over the glittering Las Vegas Strip, the neon
lights and bustling crowds a stark contrast to the quiet,
humble life Nishan leads. Kirk’s limousine pulls up to the
curb, and Nishan steps out, looking around in awe.
CUT TO:
INT. LIMOUSINE – DAY
Kirk and Nishan sit in the back of the limo, Kirk grinning
with pride as he gestures to the towering MGM Grand.
KIRK
What do you think, Nishan? Not bad
for a couple of kids from Fresno,
huh?
Nishan smiles, his expression humble but proud.
NISHAN
It’s incredible, Kirk. You’ve built
something truly extraordinary.
Kirk claps his brother on the shoulder, his affection
evident.
KIRK
I couldn’t have done it without
you, big brother. You taught me how
to fight, how to work, how to
dream.
Nishan chuckles, shaking his head.
NISHAN
I just gave you a push. You did the
rest.
CUT TO:
INT. MGM GRAND – DAY
Kirk leads Nishan through the bustling casino, the sound of
slot machines and laughter filling the air. Nishan looks
around, taking in the opulence with quiet awe.
KIRK
This is just the beginning, Nishan.
I’ve got plans for something even
bigger. Something that will put Las
Vegas on the map like never before.
Nishan nods, his expression thoughtful.
NISHAN
It’s amazing, Kirk. But don’t
forget where you came from. Don’t
forget the people who helped you
along the way.
Kirk looks at his brother, his expression softening.
KIRK
I won’t, Nishan. I promise.
CUT TO:
Genres:
["Drama"]
Ratings
Scene
38 -
Brothers in Reflection
INT. PRIVATE SUITE – NIGHT
Kirk and Nishan sit in a luxurious suite overlooking the
Strip. Kirk pours them both a glass of whiskey, and they
toast to their success.
KIRK
To family. The only thing that
really matters.
Nishan nods, taking a sip of his drink.
NISHAN
Speaking of family, how’s Jean? And
the girls?
Kirk’s smile fades slightly, his expression thoughtful.
KIRK
They’re good. Busy. Jean’s been
traveling a lot with her dance
troupe, and the girls are growing
up fast. But… it’s hard, Nishan.
Balancing everything.
Nishan looks at his brother, his voice gentle.
NISHAN
You’ve always been a fighter, Kirk.
But don’t forget to fight for your
family too. They need you as much
as your businesses do.
Kirk nods, his expression somber.
KIRK
I know. I’m trying, Nishan. I
really am.
Nishan places a hand on Kirk’s shoulder, his voice filled
with warmth.
NISHAN
You’ll figure it out. You always
do.
KIRK
How’s Rose? I haven’t seen her in a
while.
Nishan smiles, his expression softening.
NISHAN
She’s good. Still helping out at
the church, still taking care of
everyone. She’s got a big heart,
just like Mama.
Kirk nods, his eyes distant.
KIRK
I miss her. I miss all of us
together, like when we were kids.
Nishan looks at his brother, his voice filled with pride.
NISHAN
We’ve come a long way, Kirk. But
we’re still family. That’s what
matters.
Kirk smiles, his affection for his brother evident.
KIRK
You’re right, Nishan. Family is
everything.
NISHAN
You know, Kirk, I’ve been working
with some of the new Armenian
families coming to America. They
remind me so much of our
parents—scared, confused, like deer
in headlights in this strange new
land.
Kirk looks at his brother, his expression filled with
admiration.
KIRK
That’s amazing, Nishan. You’re
doing important work. Helping
people like Mama and Papa when they
first arrived.
Nishan nods, his voice humble.
NISHAN
It’s not much, but it’s something.
I just want to give them a chance,
like we had.
Kirk reaches into his pocket and pulls out a check, handing
it to Nishan.
KIRK
Take this. Use it to help them.
It’s the least I can do.
Nishan looks at the check, his eyes widening.
NISHAN
Kirk, this is too much. I can’t—
Kirk interrupts, his voice firm but kind.`
KIRK
You can, and you will. You’ve
always been there for me, Nishan.
Let me be there for you.
Nishan looks at his brother, his eyes filled with gratitude.
NISHAN
Thank you, Kirk. This will mean so
much to them.
CUT TO:
Genres:
["Drama"]
Ratings
Scene
39 -
The Guilt Trip
EXT. LAS VEGAS STRIP – NIGHT
Kirk and Nishan stand on the balcony of the MGM Grand,
looking out over the glittering Strip. The city lights
reflect in their eyes, a testament to how far they’ve come.
VOICEOVER (KIRK, OLDER)
Nishan was more than my brother. He
was my mentor, my protector, my
friend. And no matter how big my
dreams became, he always reminded
me of where I came from.
FADE OUT.
THE SISTERS’ PLAN – 1970s
INT. BEVERLY HILLS MANSION – LIVING ROOM – DAY
ESTABLISHING SHOT:
The camera pans over the luxurious living room of the
Kerkorian mansion. TRACY (16) and LINDA (14) sit on the
couch, whispering conspiratorially. Tracy holds a magazine
open to a page featuring a sleek red sports car, while Linda
flips through a travel brochure for Europe.
TRACY
Okay, here’s the plan. We hit him
with the car first, then the Europe
trip. He’ll be so guilty about
missing my recital and your
science fair that he won’t say no.
Linda grins, her eyes sparkling with mischief.
LINDA
And if he tries to say no, we cry.
Dad can’t handle it when we cry.
Tracy nods, her expression determined.
TRACY
Exactly. Operation Guilt Trip is a
go.
CUT TO:
INT. LIVING ROOM – NIGHT
Kirk walks into the living room, looking exhausted but
smiling when he sees his daughters.
KIRK
Hey, girls. What are you up to?
Tracy and Linda exchange a glance, then launch into their
plan. Tracy holds up the magazine with the sports car.
TRACY
Dad, look at this. Isn’t it
amazing?
(MORE)
TRACY (CONT’D)
All the girls at school are getting
cars for their birthdays, and I’m
the only one who doesn’t have one.
Kirk raises an eyebrow, his expression skeptical.
KIRK
A car? Tracy, you’re only 16.
Linda jumps in, her voice sweet but persuasive.
LINDA
But Dad, it’s not fair. Everyone at
Beverly Hills High has a car. Even
Jessica, and she’s only 15!
Kirk looks at his daughters, his expression softening.
KIRK
I don’t know, girls. A car is a big
responsibility.
Tracy pouts, her eyes filling with tears.
TRACY
It’s not just about the car, Dad.
It’s about feeling like you care.
You’ve been so busy with work, and
you missed my recital and Linda’s
science fair. It’s like we don’t
even matter to you.
Kirk’s face falls, his guilt evident.
KIRK
That’s not true, Tracy. You and
Linda are the most important things
in my life.
Linda seizes the moment, holding up the travel brochure.
LINDA
Then prove it, Dad. All the girls
at school are going to Europe this
summer. If we don’t go, we’ll be
the only ones left out.
Kirk looks at the brochure, then at his daughters, who are
now both giving him their best puppy-dog eyes.
KIRK
Europe? That’s a big trip, girls.
Tracy sniffles, her voice trembling.
TRACY
It’s not just a trip, Dad. It’s a
once-in-a-lifetime experience. And
it would mean so much to us.
Kirk sighs, running a hand through his hair.
KIRK
Alright, alright. Let me think
about it.
Tracy and Linda exchange a triumphant glance, knowing they’ve
won.
CUT TO:
Genres:
["Drama","Family"]
Ratings
Scene
40 -
Keys to Joy
EXT. GARAGE – DAY
Kirk stands in the garage, holding the keys to a brand-new
red sports car. Tracy and Linda stand next to him, their
faces lit with excitement.
KIRK
Alright, Tracy. Here’s your car.
But remember, this is a big
responsibility. No speeding, no
reckless driving, and always wear
your seatbelt.
Tracy grins, taking the keys.
TRACY
Thanks, Dad! You’re the best!
Linda looks at Kirk, her eyes wide with anticipation.
LINDA
And Europe?
Kirk smiles, pulling out an envelope.
KIRK
Here is an itinerary for my jet you
can tell all your friends they are
welcome aboard.
Linda squeals, hugging her father.
LINDA
Your kidding right!
KIRK
I never kid.
Kirk laughs, pulling both of his daughters into a hug.
KIRK (CONT’D)
I love you girls. More than
anything.
CUT TO:
EXT. MANSION – NIGHT
Kirk stands on the balcony, looking out over the city lights.
Tracy and Linda are inside, packing for their trip to Europe.
Kirk’s face is a mix of pride and reflection.
VOICEOVER (KIRK, OLDER)
Tracy and Linda taught me something
important that day. Success isn’t
just about building empires. It’s
about being there for the people
you love. And no matter how big my
dreams became, they were always my
greatest achievement.
FADE OUT.
STRATEGY AT THE MGM GRAND TAHOE – 1979
EXT. SKY OVER LAKE TAHOE – DAY
A sweeping aerial shot of the pristine Lake Tahoe, its deep
blue waters shimmering under the morning sun. The camera
zooms in toward the magnificent MGM Grand Tahoe, perched
along the shoreline, its grand architecture reflecting in the
calm lake waters.
Genres:
["Drama"]
Ratings
Scene
41 -
Strategic Horizons
INT. MGM GRAND TAHOE PENTHOUSE – BALCONY – DAY
The balcony doors slide open, revealing KIRK KERKORIAN and
JAMES ALJIAN standing side by side, taking in the
breathtaking view. Kirk, as always, is composed, his sharp
eyes focused on a stock market report spread out on the
balcony table. James, holding a thick folder of financial
statements, flips through pages.
JAMES
The numbers are in. The sale of the
MGM Grand Vegas to Ballys should
close at $594 million. After
clearing out the operational
expenses and outstanding debts, we
are walking away with a net profit
of over $500 million.
Kirk leans against the railing, eyes still locked on the
market report, deep in thought.
KIRK
I hope that happens but we really
need to stay ahead of the game.
Vegas is changing. The Strip is
growing, but so are the risks. We
need to spread our bets.
James chuckles, flipping another page.
JAMES
I figured you’d say that. We’ve got
strong returns from the MGM movie
division, but you and I both know
that the film business is
unpredictable. If we don’t
diversify now, we’ll be too
exposed.
Kirk finally looks up, setting down his report. He exhales
slowly, as if playing out the next ten moves in his mind.
KIRK
We’re moving into new territory. If
we keep everything in gaming and
entertainment, we’ll be too
dependent on an industry built on
discretionary income. We need
industrial investments.
James pulls out another folder, labeled CHRYSLER CORPORATION
in bold letters.
JAMES
So, autos?
Kirk nods, eyes flicking to the headline of his Wall Street
Journal Iacocca Takes Over at Chrysler, Calls for Turnaround.
KIRK
Chrysler is in trouble. But that’s
exactly why it’s an opportunity.
(MORE)
KIRK (CONT’D)
Lee Iacocca knows how to fix a
sinking ship, and I want in before
the recovery begins.
James smirks, seeing the play unfold.
JAMES
And while that’s happening?
Kirk picks up another document labeled MGM STUDIOS, tapping
it twice.
KIRK
We keep the studio strong, but the
goal is to restructure, strip down
excess, and make it lean. Hollywood
needs a shake-up, and we’re going
to give it one.
James frowns, flipping through the Chrysler report.
JAMES
Kirk, Chrysler’s a long game. If
the government doesn’t approve
Iacocca’s bailout, the company
collapses. That’s a lot of risk.
KIRK
That’s why we strike now. Their
stock is dirt cheap. If the bailout
goes through, Chrysler survives,
and we ride the wave up. If it
doesn’t, we pivot. Either way, we
get ahead.
James shakes his head, but he can’t help but grin.
JAMES
Jesus, Kirk. You don’t just play
the market—you play time itself.
Kirk leans back, looking out at the vast expanse of Lake
Tahoe, his mind a chessboard of financial moves.
KIRK
James, Vegas was my first act.
Hollywood was my second. Now? Now,
we play for the whole board.
FADE OUT
THE MGM GRAND FIRE – NOVEMBER 21, 1980
Genres:
["Drama","Business"]
Ratings
Scene
42 -
Inferno at the MGM Grand
EXT. MGM GRAND HOTEL – NIGHT
A sweeping aerial shot of the MGM Grand Hotel, its neon
lights illuminating the Vegas Strip. The streets are alive,
gamblers and tourists moving in and out of the grand
entrance, unaware of the disaster about to unfold.
CUT TO:
INT. MGM GRAND HOTEL – FIRST FLOOR – NIGHT
The camera moves through the casino floor, gliding past
flashing slot machines, green felt tables, and cocktail
waitresses serving guests. The place is alive with energy.
The shot moves toward The Deli, a small pastry shop tucked
away near the casino. The place is closed, the lights dim,
chairs stacked neatly atop tables.
A low hum fills the quiet air—the sound of the refrigerated
pastry display case vibrating slightly against the wall.
CLOSE-UP – The electrical wiring behind the case shakes
slightly, unseen, as loose wires rub against an aluminum
conduit.
A faint spark. Then another.
The soft pop of a short circuit. An ember ignites inside the
wall, the flame small at first, creeping up the insulation
like a snake.
SLOW MOTION – The fire begins to grow, spreading toward PVC
pipes above.
With a sudden WHOOSH, the heat melts the pipes, releasing a
rush of oxygen. The fire bursts outward, climbing the ceiling
tiles, leaping to the curtains, racing along the walls.
CUT TO:
INT. MGM GRAND HOTEL – CASINO FLOOR – NIGHT
The camera tracks the fire as it spreads like a tidal wave,
consuming everything in its path.
A wall of flame explodes out of the kitchen, igniting
carpets, drapes, and gaming tables. The oxygen-fed inferno
moves with terrifying speed, engulfing the casino in seconds.
People scream, running in all directions as the fire devours
the first floor.
CUT TO:
EXT. MGM GRAND HOTEL – NIGHT
The fire erupts through windows, spewing thick black smoke
into the night sky.
Alarms blare.
The first FIRE ENGINES arrive, sirens howling, red and white
lights cutting through the smoke. Firefighters leap into
action, pulling hoses, shouting commands.
Onlookers gather, staring in horror. Guests lean out of
windows, waving frantically for help.
CUT TO:
INT. KIRK KERKORIAN’S HOME – NIGHT
A quiet room. KIRK KERKORIAN sits at his desk, deep in
paperwork, a glass of water beside him. His world, for now,
is still.
Then—the phone rings.
Kirk picks it up, frowning. JAMES ALJIAN is on the line, his
voice tight with panic.
JAMES (V.O.)
Kirk. Turn on the TV. Now.
Kirk hesitates, then reaches for the remote, switching on the
television.
ON SCREEN: LIVE NEWS BROADCAST
The MGM Grand is engulfed in flames, smoke billowing into the
night, guests trapped on upper floors, waving for rescue.
Kirk’s grip tightens on the phone. His face remains
impassive, but his knuckles turn white.
FADE TO BLACK.
AFTERMATH OF THE MGM GRAND FIRE – 1980
EXT. MGM GRAND HOTEL – MORNING AFTER THE FIRE
A thick haze of black smoke still lingers over the charred
remains of the MGM Grand. Fire trucks surround the scene,
their hoses still dripping. The air is heavy with the smell
of burnt carpet, plastic, and tragedy.
Reporters swarm outside, cameras flashing, as KIRK KERKORIAN
steps out of a black sedan. He’s dressed sharply, but his
expression is unreadable. JAMES ALJIAN walks beside him,
holding a thick folder of documents.
JAMES
The reports are grim. Eighty-five
dead, over six hundred injured.
Lawsuits are already coming in.
Kirk takes in the devastation, his face unreadable.
KIRK
This should have never happened.
JAMES
The press is calling it the worst
hotel fire in U.S. History. If we
don’t act fast, MGM’s reputation
won’t recover.
Kirk exhales slowly, then starts walking toward the building.
CUT TO:
INT. MGM GRAND BOARDROOM – DAYS LATER
A long table, packed with lawyers, insurance representatives,
and executives. Tension fills the air.
LAWYER
We’re facing hundreds of millions
in claims. The insurance company is
looking for ways to minimize
payouts. This could sink us.
Kirk sits at the head of the table, hands folded. He scans
the room, his piercing gaze stopping the chatter.
KIRK
We’re not dodging this. We’re
paying the victims’ families, and
we’re covering medical expenses. No
court fights. No delays.
Silence. The lawyers shift in their seats.
INSURANCE REP
That’s... that’s going to be
extremely costly, Mr. Kerkorian.
KIRK
It’s the right thing to do. And
it’s the only way we rebuild trust.
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
43 -
A Commitment to Change
INT. STATE LEGISLATIVE HEARING – MONTHS LATER
Kirk sits before a committee of state officials, cameras
rolling. The fire has triggered a national debate about
safety regulations in hotels.
SENATOR
Mr. Kerkorian, do you take
responsibility for what happened?
Kirk leans forward, his voice steady, firm.
KIRK
I take responsibility for making
sure it never happens again.
He places a thick report on the table.
KIRK (CONT’D)
We built that hotel according to
state codes Senator Cannon. We
passed all the inspections. The
problem is the state codes aren't
up to par! So I’m pushing for
mandatory sprinkler systems in all
hotel areas, smoke detectors in
every room, automatic elevator
recalls, and improved evacuation
procedures. Not just for MGM, but
for every major hotel in the
country.
The senators murmur. The press takes notes. This isn’t just
damage control—it’s a revolution.
CUT TO:
INT. MGM GRAND REBUILDING SITE – ONE YEAR LATER
Construction crews work tirelessly as the new MGM Grand takes
shape.
Kirk walks the site with James, watching as new fireproof
materials are installed, automatic sprinklers added.
JAMES
You didn’t just rebuild. You
changed the whole industry.
Kirk stops, looking up at the rising structure, then nods.
KIRK
No one will ever die in one of my
hotels again.
FADE OUT.
THE DIVORCE – 1984
INT. KERKORIAN FAMILY HOME – LIVING ROOM – NIGHT
The living room is warm and inviting, but the atmosphere is
heavy with tension. Kirk sits on the couch, his face drawn
and tired. His daughters, TRACY (early 20s) and LINDA (late
teens), sit across from him, their expressions a mix of
confusion and hurt. Kirk’s brother, NISHAN, and sister, ROSE,
are also present, offering silent support.
KIRK
Girls, I know this is hard. And I
know I haven’t been the best father
lately. But I want you to
understand… your mother and I,
we’ve grown apart. It’s not
anyone’s fault. Sometimes, people
just change.
Tracy looks at him, her eyes filled with tears.
TRACY
But why, Dad? Why can’t you just
fix it? You’ve fixed everything
else in your life.
Kirk sighs, his voice heavy with emotion.
KIRK
Some things can’t be fixed, Tracy.
No matter how much you want them to
be.
Linda crosses her arms, her voice trembling.
LINDA
So what happens now? Are we just
supposed to pick sides?
Kirk shakes his head, his expression pained.
KIRK
No, Linda. There are no sides. Your
mother and I both love you. That
will never change.
Nishan leans forward, his voice calm but firm.
NISHAN
(In Armenian with
subtitles)
Kirk, you know what Papa always
said. ‘Marry an Armenian girl. They
understand family. They understand
loyalty.’ Maybe he was right.
Kirk looks at his brother, a flicker of regret in his eyes.
KIRK
Maybe he was, Nishan. But it’s too
late for that now.
Rose, who has been quietly listening, suddenly stands, her
voice sharp with frustration.
ROSE
It’s not about marrying an Armenian
girl, Nishan. It’s about being
there. Jean gave you everything,
Kirk. She raised your daughters,
supported your dreams, and what did
she get in return? A husband who
was never home.
Kirk looks at Rose, his guilt evident.
KIRK
I know, Rose. I know I haven’t been
there like I should. But I’m trying
to make it right.
Rose steps closer, her voice softening but still firm.
ROSE
Then start by being nice to her,
Kirk. She’s the mother of your
children. She deserves your
respect, even if you’re not
together anymore.
Kirk nods, his expression resolute.
KIRK
You’re right, Rose. I’ll stay on
good terms with Jean. For the
girls. For all of us.
Tracy and Linda look at their father, their expressions a mix
of hope and uncertainty.
TRACY
Promise, Dad? Promise you’ll be
nice to Mom?
Kirk looks at his daughters, his heart breaking at the pain
in their eyes.
KIRK
I promise, Tracy. I’ll always be
there for you and Linda. And I’ll
always respect your mother.
Linda sniffles, her voice small but hopeful.
LINDA
And you’ll still come to my
graduation, right?
Kirk smiles, his voice filled with love.
KIRK
Of course, Linda. I wouldn’t miss
it for the world.
Tracy starts to cry she runs out into the kitchen every one
fallows her.
Kirk sits alone in the living room, the sound of his family’s
voices fading as they leave the room. He looks out the
window, his face a mix of regret and determination
FADE OUT.
A CALL FROM ENGLAND – 1984
Genres:
["Drama"]
Ratings
Scene
44 -
A Call to Remember
INT. KIRK KERKORIAN’S HOME – LOS ANGELES – NIGHT
The dim glow of a desk lamp casts long shadows. KIRK
KERKORIAN sits alone in his study, a tumbler of whiskey
untouched beside him. His fingers drum anxiously against the
table as the phone rings.
KIRK
Jean.
INT. JEAN’S PARENTS’ HOME – ENGLAND – NIGHT
JEAN MAREE HARDY sits in her childhood bedroom, a suitcase
half-packed behind her. Her voice is composed, but there’s a
tremor beneath it.
JEAN
Kirk… I think you should sell the
house.
Kirk straightens, taken aback.
KIRK
What?
JEAN
It’s too big for me, for the girls.
I don’t want it anymore.
Kirk exhales, rubbing his forehead.
KIRK
No. You keep it. It’s your home,
Jean.
JEAN
Our home? You were never there.
The words cut deep. Kirk leans forward, gripping the phone
tighter. His voice softens.
KIRK
I know. And I’ll regret that for
the rest of my life.
A silence hangs between them. Then, Jean starts to
cry—quietly at first, then uncontrollably.
JEAN
I waited for you, Kirk. For years.
I stood by you while you built your
empire. And now, I’m here, back
where I started, and I don’t know
who I am without you.
Kirk’s throat tightens. He blinks, his vision blurring. He
never allows himself to show weakness, but this is different.
KIRK
Come home, Jean.
JEAN
Kirk…
KIRK
Please. Come home. We need to talk,
face to face. I owe you that. I owe
you everything.
Jean wipes her tears, her breath shaky.
JEAN
And if I come back?
Kirk closes his eyes for a moment, swallowing the weight of
everything left unsaid.
KIRK
I will take care of you. I
promise.
Jean hesitates, then nods, even though he can’t see her.
JEAN
I’ll think about it.
KIRK
I’ll be waiting.
She hangs up. Kirk stays still, the dial tone humming in his
ear. A lone tear slips down his cheek.
FADE TO BLACK.
A FAMILY CONVERSATION – ENGLAND – 1984
Genres:
["Drama"]
Ratings
Scene
45 -
A Toast to Family
INT. JEAN’S PARENTS’ HOME – LIVING ROOM – NIGHT
A warm, well-kept English countryside home. A crackling fire
burns in the hearth, casting flickering shadows on the walls.
JEAN MAREE HARDY sits on the couch, a cup of tea in hand. Her
MOTHER and FATHER, both in their seventies, sit across from
her, the picture of British contentment.
JEAN’S MOTHER
Oh, darling, you look exhausted.
All this business with Kirk must be
dreadful.
JEAN
(smirks)
Mum, I think I’ve aged ten years in
the past month.
JEAN’S FATHER
Well, at least you’re still better
lookin’ than that sod Kirk. Too
much money, that man. It’s
unnatural.
Jean laughs, shaking her head. Her father winks at her,
always knowing how to lighten the mood.
JEAN
I’ll tell him you said that.
JEAN’S MOTHER
And the girls, dear? How are Tracy
and Linda holding up?
Jean sighs, her smile fading as she places her tea on the
table.
JEAN
They’re struggling. They love their
father, but they don’t understand
why it had to come to this. And I
don’t know how to explain it to
them.
Her voice catches. She wipes her eyes before tears can fall.
Her mother reaches over, squeezing her hand gently.
JEAN’S MOTHER
Oh, love. You did your best. And
your girls adore you.
JEAN
(softly)
I miss them so much.
JEAN’S FATHER
Well, there’s only one solution,
then.
Jean looks up, puzzled. Her father grins, sitting up
straight.
JEAN’S FATHER (CONT’D)
Your mother and I will pack our
bags and come to Los Angeles with
you! Keep an eye on things, make
sure Kirk’s behaving himself, and
remind him who the real boss is.
Jean laughs through her tears, shaking her head.
JEAN
You’d drive him mad within a week.
JEAN’S MOTHER
Nonsense. I’ve always liked Kirk.
And I’d love to see my
granddaughters more.
JEAN
(smirks, slipping into a
slight British accent)
Well, you best not be makin’ a fuss
when we get there, then.
Her parents chuckle. Her father raises his cup.
JEAN’S FATHER
To family, then.
Jean clinks her cup against theirs, a small spark of hope
returning to her eyes.
FADE TO BLACK.
SHIFTING THE GAME – 1985
Genres:
["Drama"]
Ratings
Scene
46 -
Bold Moves in the Dark
INT. KIRK KERKORIAN’S OFFICE – LOS ANGELES – NIGHT
A dimly lit office, lined with shelves of business awards,
financial reports, and old blueprints. KIRK KERKORIAN stands
by the window, overlooking the city skyline.
JAMES ALJIAN sits at the desk, flipping through a thick
folder labeled ‘MGM/UA – Sale Proposal.’
JAMES
You’re really thinking of selling
the studio?
Kirk turns, arms crossed, deep in thought.
KIRK
I built MGM into a powerhouse,
James, but it’s a different game
now. The movie business is too
unpredictable. We make a hit one
year, we’re in the gutter the next.
I want stability. I want something
lasting.
James exhales, nodding.
JAMES
And Turner?
KIRK
He’s hungry for content. He needs a
library for his cable empire. We
give him the studio, we keep the
name, and I take that cash and
reinvest where it really matters.
James leans back, flipping a few pages.
JAMES
And where’s that?
Kirk smirks, walking over to a separate set of blueprints on
the table. He unrolls a massive design—an architectural
sketch of a hotel towering over the Strip.
KIRK
The next MGM Grand. Bigger than
anything Vegas has ever seen. Five
thousand rooms. Theme park. The
works.
James raises an eyebrow, impressed but cautious.
JAMES
Kirk, that’s insane. The biggest
hotel in the world? That’s more
than a gamble.
Kirk places a hand on the blueprints, eyes sharp.
KIRK
It’s not a gamble if you know
you’re going to win.
James smirks, shaking his head.
JAMES
You never think small, do you?
KIRK
Never. It takes the same amount
energy to do it small, might as
well go big! Turner can have the
studio. I’ll take Vegas.
FADE TO BLACK.
Genres:
["Drama","Business"]
Ratings
Scene
47 -
A Flight of Resolve
EXT. LOS ANGELES – KIRK’S OFFICE – NIGHT
The glow of a television screen reflects off the polished
wood of KIRK KERKORIAN’s desk. On the screen, news footage of
the massive 1988 Armenian earthquake plays—entire cities
reduced to rubble, people crying in the streets, rescue
workers digging through debris.
Kirk watches in silence, his face unreadable. JAMES ALJIAN
stands beside him, equally stunned by the devastation.
JAMES
Kirk, it’s bad. Spitak and
Gyumri—leveled. Over twenty-five
thousand dead. Thousands more
homeless.
Kirk exhales, eyes still locked on the screen. His voice is
firm, unwavering.
KIRK
If I can’t help them, who will?
This is my family’s homeland.
He turns to James, determination flashing in his eyes.
KIRK (CONT’D)
Get my Gulfstream ready. I’m going
to Armenia.
CUT TO:
INT. KIRK’S GULFSTREAM JET – IN FLIGHT – NIGHT
The sleek private jet soars above the clouds. Inside, Kirk
sits in the pilot’s seat, hands steady on the controls. His
co-pilot, a young Armenian-American pilot, watches him in
admiration.
CO-PILOT
Sir, are you sure you want to fly
the approach yourself?
Kirk smirks, his eyes flicking to the cockpit controls.
KIRK
I didn’t build an airline by
letting other people fly my planes.
The jet descends through the cloud cover, revealing Yerevan
below—Mount Ararat standing like a silent guardian over the
ancient land. Kirk nods toward it.
KIRK (CONT’D)
Mount Ararat. That’s where Noah’s
Ark landed. My father used to tell
me stories about it.
The co-pilot listens, sensing the deep personal connection
Kirk has to this place.
CUT TO:
Genres:
["Drama","Biographical"]
Ratings
Scene
48 -
Determination Amidst Destruction
EXT. YEREVAN AIRPORT – NIGHT
The Gulfstream touches down smoothly, rolling to a stop on
the cracked and worn tarmac. A group of Armenian officials
and aid workers wait nearby, their expressions a mix of
exhaustion and relief.
As Kirk steps off the plane, the Armenian Prime Minister
steps forward, shaking his hand.
PRIME MINISTER
Mr. Kerkorian, thank you for
coming.
CUT TO:
YEREVAN MILITARY AIRFIELD – DAWN
A Soviet-era military helicopter sits on the tarmac, rotors
already spinning. The wind kicks up dust as KIRK KERKORIAN,
JAMES ALJIAN, and the ARMENIAN PRIME MINISTER approach, their
coats flapping in the early morning chill. Exhausted aid
workers load supplies onto nearby trucks, their faces etched
with grief.
PRIME MINISTER
(Yelling)
The roads to Spitak are impassable.
This is the only way in.
Kirk nods and climbs into the helicopter, strapping himself
in. The doors close, and within moments, the aircraft lifts
off, banking toward the shattered countryside.
CUT TO:
INT. MILITARY HELICOPTER – IN FLIGHT – DAWN
The helicopter shakes in the turbulent air. Kirk grips the
frame of the open doorway, staring down at the landscape
below.
The first signs of destruction appear—cracked roads,
collapsed bridges, homes reduced to skeletal frames. Smoke
rises from distant fires.
JAMES
My God...
As they approach the epicenter, the full scale of the
devastation unfolds.
Spitak—once a thriving town—is now a wasteland.
— Entire neighborhoods flattened, their ruins barely
distinguishable from the mountains of rubble.
— A train derailed, its cars crumpled like paper, resting in
the twisted remains of a collapsed railway station.
— Bodies lined up in makeshift morgues, covered in sheets,
families kneeling beside them in silent grief.
— Children huddle together in open fields, their eyes vacant,
clinging to one another for warmth.
— A church bell, half-buried in debris, rings faintly in the
wind, as if mourning the dead.
Kirk’s knuckles turn white as he grips the edge of his seat.
His jaw tightens, but he says nothing.
JAMES (CONT’D)
Kirk... there’s nothing left.
KIRK
(quietly, but firm)
Then we rebuild.
CUT TO:
Genres:
["Drama","Disaster"]
Ratings
Scene
49 -
A Son's Resolve
EXT. SPITAK – MAKESHIFT LANDING ZONE – DAWN
The helicopter touches down in an open field, sending a cloud
of dust into the air. Rescue workers rush forward, leading
Kirk and James toward the heart of the destruction.
Kirk steps onto the broken ground, surveying the wreckage.
The air is thick with dust and grief. A woman sobs beside a
collapsed home, clutching a child’s shoe. A man digs
desperately with his bare hands, searching for his family
beneath the rubble.
PRIME MINISTER
We don’t have time, Mr. Kerkorian.
Winter is coming. We need homes
before the snows arrive.
KIRK
We need shelter—fast. Get me every
available mobile home manufacturer
in Europe and the U.S. I’ll buy
them outright.
James exhales, knowing there’s no arguing.
JAMES
You’re talking about hundreds of
millions of dollars, Kirk.
KIRK
Don’t care! I’ll spend a billion.
He turns to the Prime Minister, unwavering.
KIRK (CONT’D)
No one here sleeps in the cold.
FADE TO BLACK.
CUT TO:
EXT. ARMENIAN RELIEF CAMPS – DAY
Rows upon rows of brand-new trailer homes stretch across an
open field. Families move in, warmth returning to their
faces. Nearby, food shipments arrive, medical teams set up
clinics, and volunteers distribute supplies. The rebuilding
has begun—but the scars of devastation remain.
KIRK KERKORIAN walks through the camp, his eyes scanning the
faces of the survivors. Every handshake, every nod of
gratitude, weighs on him.
From the distance, ROSE and NISHAN KERKORIAN approach. Rose,
fiery and determined, wears a scarf against the cold, while
Nishan looks weary but resolute.
ROSE
Kirk, we’re doing everything we
can, but it’s not enough. We have
thousands still sleeping in tents.
Food and medical supplies are
stretched thin.
NISHAN
The hospitals are overwhelmed.
We’re setting up field clinics, but
the winter’s coming fast. If we
don’t move quicker, people will
start dying of exposure.
Kirk exhales sharply, turning to look at the horizon, where
bulldozers clear debris from a collapsed village.
KIRK
How long before we get permanent
housing?
ROSE
Months. Maybe longer. We need more
builders, more supplies. The roads
are still impassable in some areas.
NISHAN
And the psychological toll... Kirk,
these people have lost everything.
Families torn apart, entire
generations wiped out.
Kirk clenches his jaw. His hands tighten into fists. He looks
at the camp—at the children, the elderly, the wounded.
KIRK
Then we move faster. We double the
aid, triple if we have to. Get more
trailers. More doctors. More food.
Rose shakes her head, exasperated.
ROSE
Kirk, this isn’t just about money.
It’s about logistics.
Infrastructure. We need help from
governments, organizations—
Kirk turns sharply to her, his eyes fierce.
KIRK
You got it Rose! I’ll do Whatever
it takes. No more waiting, no more
delays.
Nishan places a hand on Kirk’s shoulder, a rare show of
brotherly affection.
NISHAN
You’ve already done more than
anyone thought possible.
Kirk softens for a moment, then notices an elderly woman
approaching. Her wrinkled hands tremble as she takes his hand
in hers.
ELDERLY WOMAN
You are a son of Armenia.
Kirk meets her gaze, the weight of generations in her eyes.
For the first time, his expression falters—his emotions
surfacing.
KIRK
I am an Immigrant’s Son.
KIRK VO.
I ended up spending a Billion
dollars on Armenia. It was money
well spent. These were my People
with out them their would be no
Kirk Kerkorian.
(MORE)
KIRK VO. (CONT’D)
I decided it was time get back to
work and built the biggest and most
beautiful hotel resort in the
world.
FADE TO BLACK.
Genres:
["Drama","Biographical"]
Ratings
Scene
50 -
Storm of Safety
EXT. MGM GRAND CONSTRUCTION SITE – DAY
The sun beats down on the desert, casting long shadows over
the growing steel frame of the MGM Grand. Cranes swing
overhead, sparks fly from welders, and construction crews
move like ants across the vast site.
A sudden CRACK!
A massive steel beam groans as a support cable snaps, sending
it swinging wildly. Workers shout, diving out of the way. The
beam slams into scaffolding, which collapses like dominoes.
FOREMAN
(yelling)
Get back! Everyone, move!
Dust fills the air. A worker is pinned beneath the debris.
KIRK KERKORIAN arrives in his Chevy Pickup, stepping out just
as medics rush to the scene.
JAMES ALJIAN
(approaching)
We’ve got our first major accident.
Kirk’s jaw tightens as he watches the injured worker being
carried away on a stretcher. The weight of responsibility
settles on his shoulders.
KIRK
I want the site inspected. Every
inch. If something isn’t right, we
fix it. No cutting corners.
JAMES
Safety measures are slowing us
down, Kirk. The schedule’s
slipping.
Kirk glares at him.
KIRK
Then we work twice as hard. But no
one dies building this hotel.
Understand? and make sure everyone
involved is taken care of!
James nods, knowing there’s no arguing.
CUT TO:
INT. MGM GRAND ENGINEERING OFFICE – NIGHT
A large table is cluttered with blueprints, cost projections,
and emergency reports. Engineers and executives argue back
and forth.
ENGINEER
We underestimated the water supply
demands. A structure this size is
pulling too much from the system.
If we don’t find a solution, we’ll
have shortages the moment we open.
James rubs his temples, exhausted.
JAMES
Kirk, we need to upgrade the entire
water infrastructure, and that’s
going to add millions to the
budget.
Kirk studies the blueprint, silent. Then—
KIRK
We dig deeper wells. Find a way to
recycle more water. Reach out to
the city and negotiate supply
expansion. Whatever it takes, we
fix it.
ENGINEER
That could push back the opening.
Kirk slams a hand on the table.
KIRK
It’s not an option. When those
doors open, everything runs. No
failures. No excuses.
CUT TO:
EXT. MGM GRAND CONSTRUCTION SITE – NIGHT
A fierce wind howls across the desert. Workers struggle to
secure tarps and materials as a storm rolls in. Lightning
flashes, illuminating the skeletal frame of the MGM Grand.
A construction manager approaches James, shouting over the
wind.
CONSTRUCTION MANAGER
If this storm gets worse, we’ll
have to shut down for days. We
can’t risk the cranes in this wind!
James nods grimly and turns to Kirk, who stands watching,
arms crossed.
JAMES
We’re looking at major delays.
Kirk remains still, eyes fixed on the towering structure in
front of him, a giant in the making.
KIRK
This hotel is bigger than any
storm. We wait it out. Then we get
back to work.
Lightning illuminates Kirk’s determined face. He turns and
walks away as the storm rages on.
FADE TO BLACK
Genres:
["Drama","Thriller"]
Ratings
Scene
51 -
The Weight of Ambition
EXT. MGM GRAND ENTRANCE – DAY
The nearly completed MGM Grand stands towering over the Las
Vegas Strip, its emerald-green glass reflecting the midday
sun. At the front, a massive bronze lion—the largest statue
in the Western Hemisphere—is being prepared for installation.
A fleet of cranes, flatbed trucks, and engineers are
gathered, their faces tense. The lion, standing over 45 feet
tall and weighing more than 100,000 pounds, looms over them,
still resting on its temporary platform.
CONSTRUCTION MANAGER
We’ve got a problem. My structural
engineer been running the numbers
he says the mounting supports can’t
handle the weight. If we try to set
it now, it could collapse.
JAMES ALJIAN stands nearby, scanning the blueprints, while
KIRK KERKORIAN watches the process unfold, his arms crossed.
JAMES
Kirk, if we delay this, it could
push back the grand opening. The
press is already breathing down our
necks.
KIRK
We’re not rushing this, James. If
that lion falls, it’ll be the first
thing people remember about this
place.
ENGINEER
The original estimates didn’t
account for shifting wind pressures
this high up. We either need a
stronger internal support system or
we risk instability.
Kirk steps closer, staring up at the colossal lion, its
gleaming bronze surface a symbol of the empire he’s built.
KIRK
What do we need?
ENGINEER
A reinforced foundation, extra
steel framing. But it means cutting
into the entrance layout—
Kirk waves him off.
KIRK
Then do it. I don’t care if we have
to pour another million tons of
concrete. That lion stands, and it
stands strong.
CUT TO:
EXT. MGM GRAND – MIDNIGHT
Floodlights illuminate the lion, now suspended high above the
entrance, slowly being lowered into place by a team of
cranes. Workers watch, holding their breath.
One of the cables CREAKS loudly—a brief moment of
tension—then holds firm.
Slowly, the lion settles onto its massive foundation, the
steel reinforcements locking into place.
A cheer erupts from the workers, the site buzzing with
excitement.
James lets out a relieved sigh, turning to Kirk, who simply
nods, his eyes never leaving the statue.
JAMES
Well, there it is. The biggest damn
lion in the Western Hemisphere.
Kirk smirks, taking one last look at the lion standing
proudly before his hotel.
KIRK
And soon, the biggest damn casino
in the world.
FADE TO BLACK
Genres:
["Drama","Thriller"]
Ratings
Scene
52 -
A Game of Tennis and Teasing
EXT. LAS VEGAS COUNTRY CLUB – TENNIS COURT – DAY
The sun beats down on the Las Vegas Country Club’s pristine
tennis courts. The rhythmic thwack of a tennis ball echoes
through the air.
KIRK KERKORIAN, sweat glistening on his forehead, lunges for
a backhand return. Across from him, a young blonde tennis
instructor, LISA, dressed in a crisp white tennis outfit,
watches with an amused smirk.
LISA
Kirk, that was decent, but you’re
muscling the shot. Less power, more
precision!
Kirk pauses, exhaling sharply, gripping his racket with
frustration.
KIRK
I don’t play to be decent, Lisa. I
play to win.
LISA
(laughing)
Then you better listen.
She walks over, gently adjusting his grip on the racket,
pressing her hand over his.
LISA (CONT’D)
Relax the wrist, follow through
smoothly. Less brute force, more
finesse.
Kirk nods, absorbing every word, his focus unwavering. He
steps back, readjusts, and takes another shot—
Perfect form. The ball zips over the net, landing just inside
the line.
LISA (CONT’D)
See? You can be taught.
Kirk smirks, his competitive fire rekindled.
They continue the match, rallying back and forth with
increasing intensity—when JAMES ALJIAN and CAROL walk onto
the court’s edge, both dressed sharply, carrying business
folders.
James watches the scene, raising an eyebrow as Lisa gives
Kirk an encouraging pat on the back.
JAMES
(muttering to Carol)
Well, she’s certainly… attentive.
Carol, eyes narrowing, smirks.
CAROL
A little too attentive.
Kirk catches the comment mid-swing, sending the ball flying
past Lisa. He turns to James, smirking.
KIRK
Jealous?
James chuckles, shaking his head.
JAMES
Just wondering when you’re going to
start charging for these private
lessons.
Lisa, overhearing, laughs, flipping her ponytail over her
shoulder.
LISA
Oh, Kirk’s paying… just not with
money.
Kirk grins, tossing his racket onto the bench.
KIRK
Alright, James, Carol—what have you
got for me?
FADE TO BLACK.
THE NIGHT BEFORE GREATNESS – 1993
Genres:
["Drama","Comedy"]
Ratings
Scene
53 -
The Roar of Anticipation
INT. KIRK KERKORIAN’S OFFICE – MGM GRAND – NIGHT
A dimly lit office high above the Las Vegas Strip. KIRK
KERKORIAN, JAMES ALJIAN, and CAROL sit in front of a large
television screen, watching the final commercial promoting
the grand opening of the MGM Grand. The glow of the screen
flickers across their faces, a mix of anticipation and
exhaustion in their eyes.
ON SCREEN: A giant, majestic lion emerges from the darkness,
stepping onto the crowded Las Vegas Strip. The people
gathered in front of the MGM Grand gasp, some stepping back,
others frozen in awe.
The lion walks through the massive crowd, weaving
effortlessly between the onlookers, its golden mane
illuminated by the flashing lights. The powerful beast
strides through the front fountains of the MGM Grand, water
splashing in its wake, drenching nearby guests.
A startled tourist stumbles backward, narrowly avoiding one
of the lion’s massive paws. The crowd watches in stunned
silence as the creature climbs onto its custom-built perch, a
massive stone pedestal that overlooks the entire entrance.
The lion turns, surveys the masses, then slowly lowers itself
into a seated position. A moment of silence. Then—
A deafening ROAR echoes through the Strip—the classic MGM
roar, shaking the ground beneath the crowd’s feet.
The camera zooms in on the massive bronze lion statue at the
entrance. The real lion’s eyes lock onto the statue’s,
merging past and future.
A deep, cinematic voiceover booms:
VOICEOVER
The legend has arrived. Welcome to
the MGM Grand—the biggest resort,
the boldest experience, the future
of entertainment. Only in Las
Vegas.
The screen fades to black, leaving only the golden MGM lion
logo. The commercial ends.
BACK TO SCENE
James exhales, rubbing his hands together.
JAMES
Well, that was dramatic.
Carol smirks, leaning back.
CAROL
Subtlety was never your thing,
Kirk.
Kirk remains silent, eyes still on the screen. Then, he
stands, adjusting his cuffs, a rare hint of a smile forming.
KIRK
Tomorrow, we make history.
CUT TO:
Genres:
["Drama","Business"]
Ratings
Scene
54 -
Opening Night at the MGM Grand
EXT. MGM GRAND – GRAND OPENING NIGHT – 1993
A sweeping, cinematic establishing shot—the MGM Grand, fully
illuminated, a beacon of luxury on the Las Vegas Strip. The
camera glides through the entrance, capturing the electric
energy of the night.
Crowds gather outside, snapping photos, talking excitedly.
The giant bronze lion statue stands tall, watching over the
entrance.
A parade of limousines arrives, doors swinging open. Out step
the celebrities:
— PIERCE BRONSON, looking impossibly suave in a midnight blue
tuxedo.
— SYLVESTER STALLONE, sunglasses on at night, giving his
signature half-smirk.
— BARBRA STREISAND, glamorous in a black gown, waving to the
cameras as fans erupt in cheers.
— Casino moguls, Hollywood executives, and Vegas legends, all
in attendance.
At the center of it all—Kirk Kerkorian. Standing at the grand
entrance, dressed in a classic black tuxedo, he surveys the
scene, his creation finally realized.
CAMERA MOVES TO:
A figure lingering in the background—LISA, Kirk’s tennis
instructor.
She’s dressed in a stunning, form-fitting evening gown, her
hair cascading over her shoulders. But her eyes aren’t on the
flashing cameras or the movie stars.
She’s watching Kirk.
James, noticing, leans toward Carol.
JAMES
Still hanging around.
Carol smirks, sipping her champagne.
CAROL
Can you blame her?
Kirk, oblivious to Lisa’s lingering gaze, takes a slow, deep
breath. Then, he steps forward, officially welcoming the
world to his greatest creation
FADE TO BLACK
THE NIGHT BEFORE GREATNESS – 1993
Genres:
["Drama","Biography"]
Ratings
Scene
55 -
The Roar of Ambition
INT. KIRK KERKORIAN’S OFFICE – MGM GRAND – NIGHT
A dimly lit office high above the Las Vegas Strip. KIRK
KERKORIAN, JAMES ALJIAN, and CAROL sit in front of a large
television screen, watching the final commercial promoting
the grand opening of the MGM Grand. The glow of the screen
flickers across their faces, a mix of anticipation and
exhaustion in their eyes.
ON SCREEN: A giant, majestic lion emerges from the darkness,
stepping onto the crowded Las Vegas Strip. The people
gathered in front of the MGM Grand gasp, some stepping back,
others frozen in awe.
The lion walks through the massive crowd, weaving
effortlessly between the onlookers, its golden mane
illuminated by the flashing lights. The powerful beast
strides through the front fountains of the MGM Grand, water
splashing in its wake, drenching nearby guests.
A startled tourist stumbles backward, narrowly avoiding one
of the lion’s massive paws.
The crowd watches in stunned silence as the creature climbs
onto its custom-built perch, a massive stone pedestal that
overlooks the entire entrance.
The lion turns, surveys the masses, then slowly lowers itself
into a seated position. A moment of silence. Then—
A deafening ROAR echoes through the Strip—the classic MGM
roar, shaking the ground beneath the crowd’s feet.
The camera zooms in on the massive bronze lion statue at the
entrance. The real lion’s eyes lock onto the statue’s,
merging past and future.
A deep, cinematic voiceover booms:
VOICEOVER
The legend has arrived. Welcome to
the MGM Grand—the biggest resort,
the boldest experience, the future
of entertainment. Only in Las
Vegas.
The screen fades to black, leaving only the golden MGM lion
logo. The commercial ends.
BACK TO SCENE
James exhales, rubbing his hands together.
JAMES
Well, that was dramatic.
Carol smirks, leaning back.
CAROL
Subtlety was never your thing,
Kirk.
Kirk remains silent, eyes still on the screen. Then, he
stands, adjusting his cuffs, a rare hint of a smile forming.
KIRK
Tomorrow, we make history.
CUT TO:
EXT. MGM GRAND – GRAND OPENING NIGHT – 1993
A sweeping, cinematic establishing shot—the MGM Grand, fully
illuminated, a beacon of luxury on the Las Vegas Strip. The
camera glides through the entrance, capturing the electric
energy of the night.
Crowds gather outside, snapping photos, talking excitedly.
The giant bronze lion statue stands tall, watching over the
entrance.
A parade of limousines arrives, doors swinging open. Out step
the celebrities:
— PIERCE BROSNAN, looking impossibly suave in a midnight blue
tuxedo. — SYLVESTER STALLONE, sunglasses on at night, giving
his signature half-smirk. — BARBRA STREISAND, glamorous in a
black gown, waving to the cameras as fans erupt in cheers. —
Casino moguls, Hollywood executives, and Vegas legends, all
in attendance.
At the center of it all—Kirk Kerkorian. Standing at the grand
entrance, dressed in a classic black tuxedo, he surveys the
scene, his creation finally realized.
CAMERA MOVES TO:
A figure lingering in the background—LISA, Kirk’s tennis
instructor.
She’s dressed in a stunning, form-fitting evening gown, her
hair cascading over her shoulders. But her eyes aren’t on the
flashing cameras or the movie stars.
She’s watching Kirk.
James, noticing, leans toward Carol.
JAMES
Still hanging around.
Carol smirks, sipping her champagne.
CAROL
Can you blame her?
Kirk, oblivious to Lisa’s lingering gaze, takes a slow, deep
breath. Then, he steps forward, officially welcoming the
world to his greatest creation.
FADE TO BLACK.
FAMILY INTERVENTION – BEVERLY HILLS – 1998
Genres:
["Drama","Romance"]
Ratings
Scene
56 -
Confrontation in the Kitchen
INT. KIRK KERKORIAN’S FORMER HOME – KITCHEN – DAY
The spacious Beverly Hills kitchen is bathed in warm
afternoon light.
JEAN, now older but still exuding grace and beauty, is busy
unpacking groceries, her movements swift and efficient.
MARIA, her Latina maid, helps, placing produce into the
fridge while humming softly to herself.
KIRK KERKORIAN sits at the breakfast nook, flipping through a
financial report, sipping coffee. Across from him, his
daughters, TRACY and LINDA, exchange knowing glances before
Tracy finally speaks up.
TRACY
Dad, we need to talk about Lisa.
Kirk barely looks up, turning a page in his report.
KIRK
Lisa? What about her?
Linda scoffs, crossing her arms.
LINDA
Oh, don’t play dumb. You know
exactly what about her.
Jean pauses mid-movement, her back still to them as she
listens. Maria, sensing the tension, slows down her work,
eyes flicking between them.
TRACY
Dad, she’s using you. Everyone sees
it but you.
Kirk finally sets his coffee down, sighing.
KIRK
She’s my tennis coach. That’s all.
TRACY
Dad, she’s younger than some of
your casinos.
KIRK (DEADPAN)
That’s not true. The MGM Grand is
younger.
LINDA
So if I start dating one of your
tennis instructors, you’d be okay
with that?
KIRK
(pauses, sips his drink)
Not answering that.
JEAN
She’s not the first young woman to
be drawn to a billionaire, Kirk.
But honestly, I thought you were
smarter than this.
Kirk shrugs, brushing it off with a smirk.
KIRK
She’s the best at what she does.
A long silence. The women—including Maria—stare at him,
deadpan.
Maria, shaking her head, mutters under her breath in Spanish.
MARIA
I Dios mio! Oh my God.
Jean closes the refrigerator, turns, and folds her arms,
finally meeting Kirk’s gaze.
JEAN
Kirk, she’s a gold digger plain and
simple!
Kirk looks at his daughters, then at Jean, then at Maria, who
is still watching him in disbelief.
LINDA
(Sarcastically )
I bet she’s real good at what she
dose!
For the first time, he doesn’t have a clever comeback.
KIRKS VO
They were right, I was an old fool.
But I couldn’t help it she made me
feel young again. Did I pay for it?
You bet I did millions, it turned
out to be the biggest humiliating
scandal of my life.
FADE TO BLACK.
THE VISION TAKES SHAPE – 2004
INT. MGM BOARDROOM – LAS VEGAS – NIGHT
A long, sleek boardroom table stretches across the room, city
lights twinkling through the floor-to-ceiling windows. KIRK
KERKORIAN, JIM MURREN, JAMES ALJIAN, and other MGM executives
sit at the table. Architectural blueprints, sketches, and
financial projections are spread across the surface.
Jim Murren stands, clicking to the next slide on a large
screen. The concept art for CityCenter illuminates the room—a
sprawling, ultra-modern urban complex, unlike anything on the
Strip.
JIM MURREN
This isn’t just another casino,
Kirk. It’s the future of Las Vegas.
A self-contained city within a
city. High-end retail, luxury
residences, a cultural hub—this is
our chance to redefine what the
Strip can be.
Kirk leans back in his chair, arms crossed. His sharp blue
eyes scan the plans.
KIRK
What’s the price tag?
Jim shifts, knowing this is the real test.
JIM MURREN
We’re looking at an initial
investment of four billion.
The room falls silent. James exhales sharply, flipping
through a financial report.
JAMES
Kirk, that’s more than anything
we’ve ever done. It’s a gamble.
Kirk smirks, tapping his fingers on the table.
KIRK
I like gambles. But this one? We’re
going to need partners.
CUT TO:
THE PARTNERSHIP BEGINS – 2007
Genres:
["Drama"]
Ratings
Scene
57 -
Vision Beyond Vegas
EXT. LAS VEGAS PRIVATE RUNWAY – NIGHT
A massive Boeing 747 airliner descends onto the tarmac, its
exterior painted with the flag of Dubai. The landing gear
screeches as it touches down, rolling smoothly to a stop. The
doors open, and a gold-plated stairway is rolled into place.
Standing on the runway, KIRK KERKORIAN and JAMES ALJIAN wait
as a warm desert breeze ruffles their suits. The city lights
of Las Vegas glow in the distance.
One by one, SHEIKH MOHAMMED BIN RASHID AL MAKTOUM and his
entourage step out of the aircraft, dressed in traditional
Emirati attire. The Sheikh moves with quiet authority, his
piercing gaze scanning the Vegas skyline.
Kirk steps forward, extending his hand.
KIRK
Sheikh Mohammed, welcome to Las
Vegas.
The Sheikh smiles slightly, shaking Kirk’s hand.
SHEIKH MOHAMMED
A magnificent city you have built,
Mr. Kerkorian.
Kirk nods as James gestures toward a sleek, black Mercedes-
Maybach limousine, its polished frame reflecting the runway
lights.
KIRK
Shall we?
CUT TO:
INT. MERCEDES-MAYBACH LIMOUSINE – NIGHT
The interior of the limo is a masterpiece of luxury—hand-
stitched leather, crystal glassware, and a built-in bar
stocked with the finest refreshments. The Sheikh reclines
comfortably, gazing out at the dazzling Vegas Strip as they
drive.
SHEIKH MOHAMMED
Las Vegas is an achievement unlike
any other. A beacon of ambition,
industry, and entertainment. But...
He turns to Kirk, his expression growing serious.
SHEIKH MOHAMMED (CONT’D)
My fellow leaders and I have a
vision for Dubai. We wish to make
it a global destination—an economic
and cultural hub, like Las Vegas.
Except... without the sinful
decadence.
Kirk chuckles, pouring himself a glass of sparkling water. He
takes a sip before responding.
KIRK
Sheikh, what you’re building is the
future. Dubai has the wealth, the
ambition, and the location to
surpass even this city.
The Sheikh studies him carefully.
SHEIKH MOHAMMED
And you believe we can achieve
this?
Kirk sets his glass down, leaning forward slightly.
KIRK
With the right minds, the right
investments, and the right
planning? Absolutely. You have my
help with whatever you need.
A satisfied nod from the Sheikh. Outside, the limousine
glides down the Strip, passing the MGM Grand, Bellagio, and
the unfinished CityCenter project.
FADE TO BLACK.
CITY CENTER IN CRISIS – 2008
Genres:
["Drama","Thriller"]
Ratings
Scene
58 -
High Stakes at City Center
INT. CITY CENTER CONSTRUCTION SITE – LAS VEGAS – DAY
The site is a chaotic maze of half-built structures, cranes
looming overhead, and workers in hard hats moving
frantically. The metallic screech of steel beams, the
pounding of jackhammers, and the endless hum of construction
fill the air. The scale is staggering—Las Vegas has never
seen anything like this.
At the heart of the chaos, JIM MURREN (MGM CEO) and KIRK
KERKORIAN stand near a makeshift command trailer, reviewing
massive blueprints spread across a table. Nearby, a safety
officer argues with a foreman.
SAFETY OFFICER
We have six dead workers already!
The guys are threatening to walk
off the job if conditions don’t
improve!
FOREMAN
We’re working 24-hour shifts to
keep up! The schedules are
impossible!
Kirk steps forward, scanning the disaster around him. He
removes his sunglasses, his face unreadable.
KIRK
Get Perini’s lead guys in here now.
I don’t care if we lose a day—this
doesn’t move forward until we get
safety under control.
Murren exhales, rubbing his temples.
JIM MURREN
Kirk, if we shut things down for
too long, the banks will panic.
Dubai World is already looking for
an excuse to walk.
Kirk looks past him, toward the skeletal frame of a tower in
the distance—The Harmon, now infamous for its structural
defects.
KIRK
If this thing collapses, they won’t
need an excuse.
CUT TO:
INT. PRIVATE LOUNGE – BELLAGIO HOTEL – NIGHT
A lavish private meeting space. Seated in a semicircle are
SHEIKH MOHAMMED BIN RASHID AL MAKTOUM and his advisors,
dressed in immaculate white kanduras. Across from them sit
Kirk, James Aljian, and Jim Murren. The air is thick with
tension.
SHEIKH MOHAMMED
Mister Kerkorian, when we agreed to
this partnership, the budget was
four billion. Now it is nearly
nine.
Kirk leans back, nodding slightly, as if he expected this.
KIRK
Ambition has a price, Your
Highness. And this isn’t just a
casino—it’s a city.
One of the Sheikh’s advisors leans forward, his expression
sharp.
ADVISOR
Your company miscalculated, and now
you expect us to pay for your
mistakes?
JAMES ALJIAN
We didn’t miscalculate. The economy
shifted, material costs
skyrocketed, and the workforce
demands higher pay. Vegas isn’t the
same as it was two years ago.
The Sheikh studies Kirk, unblinking.
SHEIKH MOHAMMED
And why should we trust you to
control it now?
A long silence. Then—Kirk leans forward, his tone calm but
commanding.
KIRK
Because I don’t lose. Look around
you, your highness this city? This
is what I do. And I don’t fail.
Lets be honest we are both in this
over our heads MGM international is
nearly bankrupt . If we don't
finish this project we will be
bankrupt and you can’t sue a
bankrupt company. So we both lose
billions.
The room remains silent, but there’s a flicker of respect in
the Sheikh’s eyes. He slowly nods.
SHEIKH MOHAMMED
Then let us hope, Mister Kerkorian,
that your gamble pays off.
VOICE OVER KIRK
The city center was out of control
the money ran out over eight
thousand construction workers out
of work. Everyone is suing each
other. Our only hope was Sheikh
Mohammed’s 200 million dollars.
FADE TO BLACK.
THE FINAL DECISION – 2009
Genres:
["Drama","Thriller"]
Ratings
Scene
59 -
A Leap of Faith
EXT. CITY CENTER – SUNSET
The nearly completed CityCenter stands tall, its gleaming
glass towers reflecting the warm hues of the setting sun. The
site, once chaotic and uncertain, now pulses with the energy
of progress. Construction workers put finishing touches on
the exteriors, while trucks and cranes clear the last
remnants of scaffolding.
KIRK KERKORIAN and SHEIKH MOHAMMED BIN RASHID AL MAKTOUM
stand side by side, looking up at the massive structures
before them. The Sheikh’s expression is unreadable—his arms
crossed, his gaze sharp. The silence between them lingers.
KIRK
It really is a city within a city.
Sheikh Mohammed exhales, shaking his head.
SHEIKH MOHAMMED
I’ve had my doubts, Mister
Kerkorian. This project—your
project—has drained more from me
than I expected.
Kirk nods, acknowledging the frustration.
KIRK
You’re not wrong. It’s been a mess.
Over budget. Delayed. Riskier than
either of us ever imagined.
He turns to face the Sheikh, his expression calm but
resolute.
KIRK (CONT’D) (CONT’D)
But don’t look at it as a losing
investment. Look at it as a
lesson—for you, for your people.
This is what it takes to build a
world-class tourist destination.
You want Dubai to rival Las Vegas?
Then this was your first test.
The Sheikh studies him, his eyes narrowing slightly. The
words linger. Then, slowly, he nods.
SHEIKH MOHAMMED
Perhaps you are right. Perhaps this
was the cost of experience.
A long pause. Then, the Sheikh turns to his advisor,
murmuring something in Arabic. The advisor nods.
SHEIKH MOHAMMED (CONT’D) (CONT’D)
We will fund the final two hundred
million. CityCenter must be
finished.
Kirk smirks, tilting his head slightly in gratitude.
KIRK
A wise investment, Your Highness.
CUT TO:
EXT. CITY CENTER – FIVE YEARS LATER – 2014
The Las Vegas Strip is alive with energy. CityCenter is no
longer a struggling mega-project—it is a thriving, profitable
success. The lights of Aria, Vdara, and Crystals shine
brightly, drawing in tourists from around the world. The once-
uncertain investment has become a crown jewel of Las Vegas.
Sheikh Mohammed’s private jet taxis down the runway at
McCarran Airport. From the window, he looks out at the
skyline, his eyes lingering on CityCenter, now a thriving
monument to risk and reward.
FADE TO BLACK.
THE FINAL FLIGHT – PAST & PRESENT
Genres:
["Drama"]
Ratings
Scene
60 -
A Journey of Legacy
EXT. SKY OVER THE PACIFIC – 1940s
A C-47 cargo plane cuts through the clouds, its twin engines
roaring as it carries a load of supplies across the ocean.
Inside the cockpit, a young KIRK KERKORIAN, wearing a flight
jacket and aviator sunglasses, grips the controls with steady
hands. His face is determined, eyes locked on the horizon.
VOICEOVER (OLDER KIRK)
I spent my life moving forward.
Always looking beyond the horizon.
MATCH CUT TO:
EXT. SKY OVER LAS VEGAS – PRESENT DAY
A gleaming private jet soars above the Nevada desert,
climbing higher into the sky. Inside, an elderly KIRK
KERKORIAN, still with that same quiet determination, sits in
the pilot’s seat, his hands resting lightly on the controls.
The years have passed, but the spirit remains the same.
VOICEOVER (KIRK)
I built things. Not for myself, but
for others. I gave away more than I
ever kept. Hospitals, schools,
homes for those who had none.
CUT TO:
EXT. ARMENIAN RELIEF CAMPS – FLASHBACK
Rows of trailer homes, families settling into their new lives
after the earthquake. Kirk walks through the camp, shaking
hands, listening. An elderly woman grips his hand, eyes full
of gratitude.
VOICEOVER (KIRK)
Armenia. My father’s homeland. My
homeland. If I couldn’t help, who
would?
CUT TO:
INT. PRIVATE JET – PRESENT DAY
Kirk glances at the horizon, then at a framed photograph on
the control panel—his parents, Nishan, Rose, Tracy, and
Linda. He runs a hand over the frame, a rare softness in his
expression.
VOICEOVER (KIRK)
I had money. More than I could ever
spend. But what mattered was the
people. My family. My friends. The
lives I could change.
CUT TO:
EXT. SKY – JET CLIMBING HIGHER
THE JET ASCENDS, BREAKING THROUGH THE
LAST LAYER OF CLOUDS. SUNLIGHT FLOODS
THE COCKPIT, GOLDEN AND INFINITE.
VOICEOVER (KIRK):
I have one last journey left. And I
know who’s waiting for me on the
other side.
The jet disappears into the clouds, leaving only the endless
blue sky.