The buzz from Alex's stellar 1981 performance, amplified by recent articles celebrating his double placement in the global Top 10 and the Money Making Stars poll, inevitably spilled onto the set of the current production. During a break between setups, Alex found himself relaxing in a canvas chair alongside several of his co-stars – Robert Downey Jr., Diane Lane, Helen Hunt, John Cusack, and James Spader had pulled chairs into a loose circle, sipping coffee and unwinding.
Robert Downey Jr., ever direct and with a characteristic gleam in his eye, broke the companionable silence. "So, Hayes," he began, gesturing vaguely as if referring to the recent press, "read all about you this morning. How's it feel? The new golden boy of Hollywood?"
Alex offered a small, slightly self-conscious smile. "It's... surreal, mostly," he admitted honestly. "And honestly, a whole lot of luck. Getting those two films into the Top 10..." He trailed off, shaking his head slightly.
"Luck? Come on," Diane Lane chimed in, leaning forward slightly. "Both films hitting like that?" Helen Hunt nodded almost imperceptibly, listening intently, as did Cusack and Spader, their usual set chatter paused. The subtle distance Alex sometimes felt seemed momentarily bridged by genuine curiosity.
Alex elaborated, keen perhaps to manage expectations or simply analyze the situation objectively. "Well, yeah, luck plays a part, especially with the timing," he explained. "Last year, 1981, was maybe a bit softer overall at the very top compared to the year before. If your film crossed about $60 million globally, you had a decent shot at cracking the Top 10. That's how 'Can't Buy Me Love' [$64M] squeezed in at number nine." He paused, gathering his thoughts. "Compare that to 1980 – the number ten film that year, I think it was 'Blues Brothers', needed around $57 million just domestically. So, different years, different thresholds. We hit a slightly easier target year, especially for the second film."
There was a moment of silence as the others absorbed his analysis.
"Okay, Mr. Modesty," RDJ retorted with a grin, "even if the bar was a little lower, getting two films over it, in the same year, placing sixth and ninth? That's still damn impressive. Don't undersell it."
Helen Hunt leaned forward then, her gaze direct. "So, crystal ball time. Do you think this film," she gestured around them, referring to the reimagined '10 Things I Hate About You' they were currently shooting, "will enter the Top 10 this year?"
Alex considered the question seriously, the analytical side replacing the slight defensiveness. He looked around at his castmates, then seemed to look inward for a moment. "I think it will be successful," he said finally, his tone measured. "I believe in what we're doing here, absolutely. But Top 10? That depends." He met Helen's gaze. "How much successful is determined by so many things we can't control right now... by time, circumstances, and maybe most importantly, by audience repeat value. We make the best film we can, put our hearts into it like we are, and then... we see if it connects."
A first assistant director's voice calling for actors nearby broke the moment, signalling the end of the break, but the thoughtful, slightly uncertain note Alex ended on lingered in the air as they all rose to get back to work.
*****
The final day of filming. The air was thick with the usual blend of fatigue and anticipation, heightened by the knowledge that these were the closing moments of a long shoot. John Hughes, orchestrating the complex machinery of the set, conferred with his Director of Photography about capturing the specific quality of the late afternoon light in the Stadium High parking lot. The crew prepped for the pivotal reconciliation scene, the emotional resolution following Kat's heart-wrenching poem.
John Hughes: "Okay, Helen, you've just come from pouring your heart out. You find the guitar... let that sink in. Alex, remember Patrick's core confidence, even when he's laying it on the line. Tentative approach, but own the words. Quiet everyone... And... ACTION!"
Helen, as Kat, walks slowly to her car, opens the door, and stops short. She sees the guitar reclining in the front seat. Surprise registers on her face, softening the residual pain from the previous scene. She reaches in almost reverently, lifting the Fender Stratocaster out, her fingers tracing its familiar lines. She inspects it, turning it over slowly, a complex mix of emotions playing across her features.
Suddenly, a familiar voice breaks the quiet, coming from somewhere behind her.
Alex (as Patrick, off-screen initially): "Nice, huh?"
Helen/Kat spins around, startled but not angry. She holds the guitar, looking from it to him. Patrick offers a small, knowing smile.
Helen (as Kat): "A Fender Strat. You bought this?"
Alex (as Patrick): (Walks a little closer, his gaze steady) "I thought you could use it. When you start your band."
Helen/Kat looks down at the guitar, then back at him. She doesn't answer directly, but the hint of a smile she tries to hide is evident.
Alex (as Patrick): (Continuing, closing the distance slightly, voice sincere but steady) "Besides, I had some extra cash." (A brief pause, then direct eye contact) "Some asshole paid me to take out a really great girl."
Helen (as Kat): (A slight smile touches her lips now, intrigued by his honesty) "Is that right?"
Alex (as Patrick): "Yeah..." (He holds her gaze, his expression earnest, unwavering, delivering the line with simple, direct honesty) "...but then I fucked up. I fell for her."
He doesn't look away, letting the admission settle between them, confident in its truth even if uncertain of her reaction.
Alex (as Patrick): (Breaking the intensity slightly with a teasing smirk, looking her up and down) "You know -- it's not every day you find a girl who'll flash her tits to get you out of detention."
Helen/Kat looks up, surprised he knew, a flicker of embarrassment crossing her own face. Alex reads her slightly upturned, vulnerable expression as invitation enough. He steps forward decisively, gently tilting her chin up, and kisses her. It's purposeful, meeting her lips with a tenderness that doesn't undermine his confidence. She allows it, responding to the kiss.
Then, she pulls back, breaking the connection, though she doesn't step away. Her expression is serious, but not rejecting.
Helen (as Kat): "You can't just buy me a guitar every time you screw up, you know."
Alex/Patrick offers a knowing grimace, accepting the point.
Alex (as Patrick): (Recovering instantly with a confident grin) "I know. But then there's always drums... bass... and maybe even one day," (He leans in, his voice a low murmur) "a tambourine."
He leans in to kiss her again, smoothly interrupting any potential protest. She meets the kiss, but then breaks it off again, more firmly this time, starting to speak.
Helen (as Kat): "And don't just think you can-"
But before she can finish, he kisses her again. This time it's more insistent, claiming the moment, tender but definite, effectively silencing her protest with affection. He holds the kiss, pouring all of Patrick's hard-won sincerity and underlying confidence into it. The camera focuses tightly on them, capturing the kiss that seals their reconciliation.
John Hughes lets the kiss hold for a perfect beat, a satisfied silence hangs in the air. "And... CUT!" He allows himself a small smile, looking between his two leads. "Beautiful. Just beautiful." He nods appreciatively. "Alex, Helen - you both did a fantastic job." He then turns to the entire crew, his voice carrying across the parking lot, filled with emotion and relief. "And that, everyone, is a picture wrap! We have our movie!" A wave of cheers, applause, hugs, and maybe a few tears erupts across the set, marking the official end of filming.
As the initial shouts subsided, Alex and Helen turned to each other, relief and accomplishment flooding their faces. They shared a tight hug, murmuring congratulations, a bond forged through the intensity of bringing Patrick and Kat's tumultuous story to life. Within moments, they were joined by their main high school co-stars – John Cusack, Diane Lane, James Spader, and Robert Downey Jr. – enveloping them in a group embrace, celebrating the shared journey and the end of filming.
Amidst the happy chaos, Alex caught sight of John Hughes standing slightly apart, watching the celebration with a contemplative expression. Alex excused himself from the group and walked over to the director.
"How are you feeling, John?" Alex asked quietly, noticing the slight sheen in the director's eyes.
John Hughes turned to him, his voice thick with emotion, betraying the tears welling up. "It feels like a treat, Alex," he managed, his words encompassing the relief, the exhaustion, and the deep satisfaction of completing the film. "A real treat."
Alex offered a warm, understanding smile and gently patted Hughes on the back. He didn't say anything more, sensing the director needed a moment. Alex then quietly moved away, rejoining the others and allowing John Hughes the space to privately savor the complex emotions that always accompanied the end of bringing a story he cared about to the screen. The project was complete, and now, only the waiting remained.