The film had exploded in its second frame, pulling in an astonishing $4 million. By the end of that second week, its cumulative gross stood at $4.823 million – a figure few would have predicted just seven days earlier. It was the kind of performance that made executives sit up and take notice, the tell-tale sign of a potential "sleeper hit" driven purely by audience enthusiasm.
The crucial second weekend provided concrete proof. Grossing $2.6 million across its initial 500 theaters, My Bodyguard defied the typical sophomore slump, landing firmly in 3rd place on the national box office charts. It wasn't just a weekend phenomenon; the film continued to draw crowds throughout the week, adding another $1.4 million over the next four weekdays. The numbers confirmed it: word-of-mouth was electric. Audiences who discovered the film were telling their friends, and those friends were showing up.
At Universal, the distribution partner handling the release, the strategy shifted rapidly from cautious observation to active capitalization. Recognizing the clear audience connection, the studio acted decisively. The order went out: expand the theater count. An additional 150 screens were secured, pushing My Bodyguard's footprint to 650 theaters nationwide as it entered its third week. It was a calculated gamble – investing more resources in prints and advertising, banking on the film's momentum to continue.
The industry watched closely. Could the little film sustain its surprising run? The third weekend results delivered a resounding yes. Playing on more screens, My Bodyguard grossed an impressive $2.9 million.
Remarkably, it held its ground, once again capturing the 3rd place spot at the box office. Holding steady in the top three for consecutive weeks, especially for a film without major stars or a built-in franchise appeal, was a significant achievement. It demonstrated resilience and a broad appeal that transcended typical demographics.
*****
Universal City, California – July 28, 1980
The final Monday in July found the executives in the Black Tower riding a wave of cautious optimism. The primary driver wasn't one of their summer tentpoles, but the unexpected, tenacious performance of My Bodyguard. The previous week's gamble – expanding the theater count – had paid off handsomely. The film had not only held its ground but had solidified its status as a genuine word-of-mouth phenomenon, pushing its total earnings comfortably past the $7 million mark.
Inside the executive boardroom, the mood was perceptibly lighter than it had been just weeks before. Lew Wasserman presided with his usual quiet authority, while Sid Sheinberg steered the conversation through the agenda items.
"...and Smokey II looks ready for the 15th," Sheinberg concluded a discussion on the upcoming Burt Reynolds sequel. "Marketing is tracking well. We anticipate a strong opening." He shifted papers. "Which brings us back to My Bodyguard."
He glanced down the table. "Third weekend numbers were solid. $2.9 million, held the number three spot again. Total gross is now sitting at $7.723 million." He permitted himself a slight smile. "The expansion to 650 screens was the right call. It's playing steadily."
Wasserman gave a brief nod. Profitability, especially unexpected profitability from a modest acquisition, was always welcome.
"Good. Maintain the support as needed." He scanned the room. "Alright. Anything else?"
A hand went up further down the table. It was David Madden, a VP known for tracking competitive projects and talent deals. "Mr. Wasserman, Mr. Sheinberg... something's come up that ties into the Bodyguard heat."
Sheinberg gestured for him to continue.
"CAA has started quietly shopping a new script," Madden said, leaning forward slightly. "A teen romantic comedy. It's co-written by young Alex Hayes and a writer named Swerdlick."
This drew immediate attention. Alex Hayes had co-written a script?
Madden pressed on, sensing the opening. "Obviously, the timing is... opportune. Hayes is getting major press from Bodyguard. And this is something he developed." He laid out the angle. "Think of the publicity, gentlemen. 'Alex Hayes, the 16-year-old breakout star of My Bodyguard, proves he's more than just an actor – Universal snaps up his screenplay.' It spins the Bodyguard success story forward, gives us another news cycle."
He paused, letting the idea sink in. "And beyond the publicity... the script itself has potential. It's a clever high school concept, plays into that same relatable teen world that seems to be working for My Bodyguard. If we buy it, it tells the town, and Alex, that we believe in him, that we're investing in his future here."
Sheinberg exchanged a glance with Wasserman. The synergy was undeniable. Capitalizing on Alex's sudden fame was smart business. But hitching the studio's wagon to a teenager's first script, regardless of who he was, carried risks.
"CAA is pitching it wide?" Sheinberg asked, his tone purely business.
"They're making the rounds," Madden confirmed. "But given our relationship with them via My Bodyguard, they came to us first. We likely have a brief window to make a strong preemptive move."
Wasserman remained silent for a moment, considering the angles. The potential for positive press was tempting, especially if it could further boost My Bodyguard's run. But was the script good? Was it worth buying to generate some headlines, or was it a distraction?
"Get me coverage on the script immediately," Wasserman finally instructed, his voice leaving no doubt it was an order, not a suggestion. "Full analysis, focusing on viability, budget potential, and the quality of the writing itself." He looked at Sheinberg, then Madden. "Find out what CAA is asking. Let's see the substance before we get dazzled by the timing."
The discussion moved on, but the seed was planted. The momentum was there, but leveraging it wisely was the real challenge.
*****
The success wasn't confined to the weekend rush. Moviegoers continued to seek it out during the week, adding another $1.53 million over the following four weekdays. By the time those figures were tallied, My Bodyguard's total gross had surged past the $9 million mark, landing at a robust $9.253 million.
In just two weeks, My Bodyguard had transformed from an overlooked release into a bona fide success story. Its journey was a testament to the power of audience connection, proving that sometimes, against the odds, a well-told story with heart could find its footing and climb, propelled not by massive marketing campaigns, but by the simple, powerful engine of viewers genuinely embracing a film and spreading the word.
While the Hayes script went through the studio's rigorous analysis process, another set of numbers landed on the desks of Universal's top brass: updated box office projections for My Bodyguard. The research department, factoring in the film's incredible staying power and audience feedback, issued a stunning forecast.
They now predicted the film could reach $25 million, perhaps even crest $30 million in domestic gross alone. Considering its modest origins – rumored to have been made for around $3 million – this wasn't just a hit; it was shaping up to be a potential windfall, a testament to finding the right story at the right price and connecting with the zeitgeist.
The projections added weight to the discussion around Alex Hayes's script. The coverage came back quickly – positive, highlighting the commercial appeal of the teen comedy concept, though noting areas needing development. Armed with this analysis and the potent box office forecast for Hayes's current film, Wasserman and Sheinberg conferred. The potential synergy was too strong to ignore. It was a gamble, yes, but a calculated one with a significant upside. The decision was made. Universal would buy the script.
The announcement, carefully timed by Universal's publicity department, landed like a firecracker in the Hollywood trades. Variety and The Hollywood Reporter splashed the news: Universal Pictures, basking in the glow of My Bodyguard's success, had preemptively purchased a new screenplay co-written by its 16-year-old star, Alex Hayes, and Michael Swerdlick. The story was sensational – a major studio betting on a script from a teenager, validating his talent beyond acting. It generated exactly the kind of buzz the executives had hoped for, painting Universal as savvy cultivators of young talent and adding another layer to the compelling narrative surrounding My Bodyguard.
This wave of positive press hit just as the film entered its fourth weekend, and the impact was immediate and palpable. Instead of the expected decline, My Bodyguard surged, fueled by the fresh publicity highlighting its young star's burgeoning multi-faceted career. It pulled in an astonishing $3.11 million over the weekend, climbing even higher than its previous weekend's gross occupying second place behind "Star Wars Ep. V: The Empire Strikes Back".The momentum carried through the week, with audiences continuing to discover or revisit the film, adding another $1.92 million during the weekdays.
When the fourth week's totals were tallied, My Bodyguard's cumulative gross stood at $14.283 million. The perfectly timed news of the script purchase had acted like accelerant on an already burning fire, pushing the film to new heights. It was a masterstroke of leveraging success – the film's organic appeal boosted by a strategic investment in its rising star, creating a feedback loop of positive press and audience engagement. Universal wasn't just distributing a hit; they were actively shaping the narrative around it, ensuring their unexpected summer success story resonated far beyond the box office receipts.