THE BILLION DOLLAR STAR

 As the deal for The Color of Money was finalized, the pre-production for Oliver Stone's Platoon was also moving ahead at full steam. Sandwiched between these major commitments, Alex dedicated his time to immersing himself in the world of pool. He hired a professional coach, spending hours practicing the fundamentals, learning the angles, and mastering various shots. While he was far from a seasoned hustler, he was quickly becoming proficient, capable of executing the necessary moves for his upcoming role.

Meanwhile, Ferris Bueller's Day Off continued its remarkable run in theaters. As December entered its eighth weekend, the film officially crossed the coveted $100 million mark domestically, reaching a total gross of $100.87 million. This was yet another feather in Alex Hayes' cap, but a far more significant milestone was also quietly being reached.

With the phenomenal success of Ferris Bueller's Day Off, Alex Hayes' films had now collectively grossed over one billion dollars domestically. He became only the second actor in history to achieve this monumental feat, following in the footsteps of Harrison Ford. However, many in the industry noted the distinction: Ford's billion-dollar milestone was largely built upon the bedrock of two iconic franchises, Star Wars and Indiana Jones. Alex Hayes, in contrast, had achieved this through a diverse portfolio of eleven films, none of which were sequels or part of established mega-franchises until The Color of Money.

A closer look at Alex's filmography revealed a stunning consistency in box office performance. Here's the breakdown of his domestic grosses:

My Bodyguard - $34 million

Can't Buy Me Love - $52 million

17 Again - $76 million

Fast Times at Ridgemont High - $63 million

10 Things I Hate About You - $102 million

Risky Business - $105 million

Sixteen Candles - $73 million

Footloose - $128 million

The Breakfast Club - $103 million

Catch Me If You Can - $167 million

Ferris Bueller's Day Off - $100.87 million (at this point)

Across these eleven films, Alex Hayes had achieved an average domestic gross of approximately $91.26 million per film. Furthermore, with a total estimated budget for all eleven films amounting to around $70 million, the average budget per film was a mere $6.36 million. This meant that, on average, each of Alex Hayes' films had earned a staggering 14.35 times its production budget domestically, making him arguably the most cost-effective major star in Hollywood – and this didn't even factor in the increasingly significant overseas box office numbers where Alex's popularity was steadily growing.

It was a story that couldn't be ignored, and the cover of Time magazine published:

ALEX HAYES : THE BILLION DOLLAR STAR

How a Teen Idol Became Hollywood's Most Bankable Name

The accompanying article delved into the meteoric rise of Alex Hayes, tracing his journey from a charming teenager in My Bodyguard to the leading man commanding the attention of every studio in Hollywood. It highlighted his uncanny ability to connect with audience, his consistent box office success, and the remarkable return on investment he consistently delivered for the studios.

"In an era of soaring budgets and unpredictable returns, Alex Hayes has become Hollywood's golden goose," the article proclaimed. "His name above the title is practically a guarantee of box office success. Hayes has built his billion-dollar domestic gross on a diverse slate of films that resonate with a broad audience. From the coming-of-age charm of 'Sixteen Candles' and 'The Breakfast Club' to the energetic rebellion of 'Footloose' and the con artist of 'Catch Me If You Can', Hayes has consistently delivered performances that are both captivating and commercially viable. His willingness to take a smaller upfront salary in exchange for a significant share of the backend has not only made him incredibly wealthy but has also solidified his reputation as a savvy and confident player in the industry. Now, with his involvement in Martin Scorsese's 'The Color of Money' alongside Paul Newman, Alex Hayes is poised to transcend the 'teen idol' label and firmly establish himself as a true cinematic force."

The article also touched upon the industry-wide implications of Hayes' success, noting the pressure it placed on other stars and agencies to reconsider their upfront salary demands. However, the overall tone was one of admiration for Hayes' remarkable achievement.

*******

The Los Angeles air felt festive as Christmas arrived. Alex hosted his family at his Hollywood Hills home. His father John, stepmother Maria, and sister Sofia were greeted warmly by Alex and Aunt Nancy at the airport. The house soon echoed with the happy sounds of family. Christmas dinner was a cozy, intimate affair prepared by Martha and Nancy, who teamed up in the kitchen just like old times. Diane Lane also joined them with her father, Burton Eugene Lane, who was made to feel completely at home. Diane had maintained a close connection with Alex's family over the years and was considered almost one of them. Mia Sara was in New York for Christmas with her own family.

In the middle of dinner, John looked at Alex with a curious expression. "Son," he said, "I've been reading in the news about you having two films lined up, looks like a busy schedule."

Alex nodded. "Yes, dad. I'm really excited about both of them. It feels like a transition period in my career, taking on some more challenging and adult roles. It's going to be a busy few months."

John frowned slightly. "Just don't put too much strain on yourself, son. Remember to take it easy sometimes."

Martha chuckled from across the table. "John, leave Alex be. He's a grown man, been taking care of himself for a long time now." John nodded and dropped the subject. He then turned to Nancy's daughter, Janet, asking about her first semester at UCLA.

"It's been great, Uncle John," Janet replied enthusiastically. "Though it's funny, some people at school found out I'm Alex's cousin, and suddenly everyone's really nice to me!" 

Alex laughed, shaking his head.

John then turned to Diane. "So, Diane, how's your year been on the career front?"

Diane smiled warmly at John. "It's been a good year, thank you for asking, John. Alex has been a wonderful guide in helping me choose the projects."

She starred in three films this year: a small role in Back to the Future as Marty's girlfriend; Better Off Dead with John Cusack; and Mask alongside singer Cher, where she played the blind girlfriend of the main character. All three were successful.

The conversation flowed easily around the table, filled with familial warmth and the quiet joys of Christmas.

The next day, Alex boarded his flight to the Philippines, ready for the demanding training that awaited him for Platoon.