Hunting in Hollywood

Courtney stood somewhat awkwardly next to Simon as he sketched, while Kristie had no such reservations, leaning close to him. Her beautiful blonde hair swung in Simon's peripheral vision as she peered at his drawing and suggested, "We were actually planning to go to a party, Simon. Why don't you come along?"

Simon, focused on his drawing, nonchalantly inquired, "What party?"

"It's hosted by Matthew, celebrating the box office success of his starring movie, 'Ferris Bueller's Day Off.' Oh, Matthew Broderick—do you know him?"

Simon nodded. Despite having memories of twelve other individuals, he had been diligently reading Hollywood's leading trade magazines, Variety and The Hollywood Reporter, to better understand the current era's cinematic landscape.

The summer's most notable Hollywood release was undoubtedly Tom Cruise's "Top Gun." Launched in mid-May, the film had already grossed $75 million in less than two months.

In the 1980s, Hollywood had not yet adopted the practice of massive nationwide releases, preferring a combination of limited initial releases followed by an extended screening period.

Even "Star Wars: Return of the Jedi," three years prior, had opened on just over 1,000 screens but had remained in theaters for over half a year due to its popularity.

"Top Gun" followed a similar initial release strategy and had amassed $75 million at the box office in just under two months, holding the top spot for the 1986 North American box office. Given the typical performance of films under extended screenings, "Top Gun" was expected to double its current gross in the upcoming months, easily securing its spot as the year's top earner with an anticipated total of over $150 million in North America.

Matthew Broderick, though not as familiar to Simon beyond his role in the then-future Hollywood version of "Godzilla," had captured his interest due to the director of "Ferris Bueller's Day Off," John Hughes, known for scripting the blockbuster "Home Alone."

As Simon casually chatted with the two girls, he planned his departure back to the motel. He wasn't particularly interested in the Western party scene, especially considering the late hour and lack of transportation could present safety issues.

However, Kristie was insistent and effectively bundled Simon into Courtney's white sedan, playfully signaling that he owed her one, clearly convinced of his interest in Courtney.

Since they were already on their way, Courtney didn't object, and Simon agreed to join.

The party was at the Airship Bar near Santa Monica Beach.

Arriving at the bar, they found a long queue at the entrance. Kristie spoke with the towering bouncer, who checked a list and their IDs. Given Simon and Kristie were underage, they were stamped on the hand before being allowed inside.

Kristie had landed a minor role in "Ferris Bueller's Day Off" and was officially invited, unlike those outside hoping to sneak into Hollywood's social circles.

Inside, the bar's oval layout and futuristic decor lived up to its 'Airship' name. The hall was packed with young people, the lights flashing and music deafening.

Rather than diving into the revelry, Kristie led Simon and Courtney toward the party's host.

After navigating half the oval hall, they reached a round table where a group of young men and women were gathered. They approached, and Kristie introduced them, "Matthew, congratulations! And these are my friends, Courtney and Simon."

After a brief exchange, noting Matthew Broderick's disinterest—even neglecting to remember their names—they prepared to leave. Just then, a boy opposite Matthew signaled Kristie and pulled up an extra chair.

"Go have fun, I'll chat here for a while," Kristie told them cheerfully, taking a seat and asking, "So, what are you guys talking about?"

"Matthew's new movie," the boy next to Kristie replied, handing her a drink before turning to Matthew, "What's it called again?"

"The Butterfly Effect, a really cool script," Matthew perked up in the absence of outsiders. "Do you guys know what the butterfly effect is?"

The group shook their heads.

"I'm not too sure myself," Matthew chuckled, "But several WMA executives are very keen on it, planning to package it like CAA does."

The girl next to Matthew nudged him playfully, "Matthew, what's the story actually about?"

"I can't really say yet, but you'll know soon. There are many roles for young actors, maybe I can help you guys with the auditions," Matthew offered, clearly enjoying the attention.

Everyone around was eager for such opportunities, especially given Matthew's influential agent, Norman Broca, a legend who had managed stars like Marilyn Monroe.

With two of WMA's veterans having passed away earlier that year, the sixty-year-old Norman Broca had taken over as president of the powerhouse agency.

As they centered the conversation

 around Matthew, a commotion in the nearby dance floor broke out, quickly escalating into a small brawl.

Seeing the disruption at his own party, Matthew's face fell, and he headed toward the dance floor, his entourage following.

Approaching, Kristie recognized the figures at the center of the disturbance, her expression souring immediately.