The shift from the electric hum of Los Angeles to the wide-open spaces surrounding Eagle Lake, Texas was immediate and welcome. Alex stepped off the plane into the cooler, clearer air of late December, feeling some of the industry tension begin to melt away as he drove towards his father's farm. He spent Christmas and New Year's unwinding amidst the quiet rhythms of farm life.
His days fell into a pattern dictated more by the sun and the needs of the land than by shooting schedules or agent calls. He spent time with his father, a man whose connection was more to the soil than the spotlight, seemingly content with the hard work and tangible results of running the farm. Also present was Martha Lopez, his father's girlfriend. Martha, a warm, Black Latina woman, had actually been a good friend of Alex's late mother. She looked after Alex with a familiar kindness, ensuring he was well-fed and comfortable in the farmhouse. They didn't talk much about Hollywood; conversations revolved around local news, crop prices, weather patterns, or repairs needed on equipment. Alex found himself pitching in, helping his dad with small farm chores – mending fences, checking on livestock, or just riding alongside him in the pickup truck across the fields. It was grounding, physical work under an expansive Texas sky.
As planned, Aunt Nancy, her husband, and their 12-year-old daughter, Janet, arrived for Christmas week, visiting cousins nearby but making sure to spend a couple of afternoons out at the farm. It was purely family time – exchanging gifts in the cozy farmhouse living room, sharing hearty meals prepared by Martha and his father, Janet exploring cautiously near the barn under the watchful eyes of the adults. Nancy, ever the professional, kept shop talk to an absolute minimum. There was maybe a brief, shared glance with Alex that acknowledged the upcoming February deadline for Can't Buy Me Love, but mostly, she was just Aunt Nancy, laughing and catching up with family. Seeing her relaxed and away from the CAA environment was a pleasant reminder of their connection beyond scripts and deals.
Even amidst the calm routines of the farm, Alex couldn't completely switch off. During quiet evenings, looking out over the dark, sleeping fields, his thoughts would drift back to Los Angeles. He wondered how John Hughes was doing, whether any quiet studio feelers had gone out yet about 17 Again, and mostly, how Can't Buy Me Love would be received. He felt a strange mix of hope and anxiety – success would pave the way for the project he now felt truly passionate about, while failure could send it into limbo. He pushed the thoughts away, focusing on the present, on the simple satisfaction of tangible work and family connection.
The holidays passed peacefully. New Year's Eve was a quiet affair with his dad and Martha. As the calendar turned to 1981, Alex felt the pull of his other life returning. By the second week of January, feeling rested and mentally clearer, he began packing his bags.
Just before he was set to leave, his father took him aside after dinner, a rare, wide smile creasing his weathered face. He shared the news, his voice filled with a quiet mixture of excitement and nervousness: Martha was pregnant. Alex was surprised – it was unexpected, certainly. He knew Martha was 41, and understood that pregnancies could be more complicated at that age. But seeing the undeniable joy radiating from his father, and the hopeful, happy look on Martha's face when she spoke to him about it later, Alex felt a genuine surge of warmth and happiness for them both. It felt like a hopeful sign, a new beginning rooted in the simple realities of family life, far removed from studio deals and box office returns. It was a piece of grounding, personal good news to carry back with him.
He hugged his father and Martha goodbye, appreciating her steady presence, and promised to call more often. The Texas interlude, with its wide horizons and earthy realities, had served its purpose. Now, it was time to head back to LA, face the promotional machine for Can't Buy Me Love, and await the verdict that would shape the next steps for both his career and his passion project, 17 Again.
*******
Returning to Los Angeles in mid-January 1981 brought Alex back to the industry's focused energy. The laid-back rhythm of the Texas farm was replaced by the directed efforts of the studio's publicity department. Universal Pictures, seeing potential in 'Can't Buy Me Love' as a counter-programming option and wanting to capitalize on Alex's visibility from 'My Bodyguard', initiated a promotional campaign that was noticeably robust for a film of its modest budget. Leveraging the unique angle of Alex's involvement as the teen star who also helped conceive the story, the studio justified publicity efforts clearly exceeding the norm for such a release, signaling their specific hopes for this project.
Alex found himself navigating a surprisingly busy schedule of promotional activities, more demanding than he might have expected for a smaller film. His days, coordinated by Nancy at CAA and Universal's publicists, involved a concentrated round of appearances designed to maximize impact. There were print interviews targeted at teen magazines and entertainment sections of newspapers, radio spots aimed at younger demographics, and appearances on local afternoon television shows where the hosts often commented on how much he'd grown. Indeed, he'd changed noticeably since filming 'My Bodyguard' roughly eighteen months prior; he'd shot up from five-foot-five to a more substantial five-foot-nine, and the slightly awkward boyishness captured in that earlier film was maturing into a more defined, handsome look. He posed for publicity photos, projecting youthful charm, understanding that this physical transition, combined with his creative involvement, was part of the package Universal was selling.
Driving through the city, Alex saw evidence of this focused campaign. Modest-sized billboards, perhaps more numerous than typical for this budget level, appeared in strategic locations frequented by younger audiences. He spotted newspaper ads frequently in the weekend entertainment supplements. On television, energetic trailers began appearing regularly on shows popular with teenagers and young adults – not saturation bombing, but a consistent and very visible presence designed to build awareness within their key demographic.
The marketing angle was hammered home clearly: "From the Teenage Star of 'My Bodyguard' Comes the Story He Helped Create!" or "Catch Alex Hayes in 'Can't Buy Me Love' - Based on an Idea by the Star Himself!" Universal was strategically investing in this narrative, betting that the curiosity factor would translate into ticket sales.
Seeing this more-than-sufficient publicity push take shape felt surreal. Part of Alex was buoyed by the clear effort the studio was making; they were giving 'Can't Buy Me Love' a real chance to find its audience. Another part felt the specific pressure amplified. The film's performance, boosted by this targeted investment, felt even more critical. Its success or failure seemed inextricably linked to the future prospects of '17 Again', the project that now held his true passion.
As January ticked towards February, the steady promotional activities continued. The trailers maintained their noticeable frequency, the release date loomed large. Alex did his best to navigate the publicity requests, stay positive in interviews, and manage his own growing anticipation for the outcome of this carefully managed, yet significant, studio gamble. The waiting game was almost over.
*****
February 5th, 1981. Premiere night for 'Can't Buy Me Love' in Los Angeles, Grauman's Chinese Theatre. Alex, feeling a nervous energy buzzing beneath his tuxedo, arrived at the ornate entrance of a landmark Hollywood theatre. Flashes popped, though perhaps fewer than would accompany a major blockbuster, and murmurs rippled through the gathered onlookers as familiar faces from the film arrived – the director, Alex's co-stars, all smiling for the photographers lining the walkway. Compared to the modest debut for 'My Bodyguard', this felt decidedly grander, orchestrated by Universal to give their potential sleeper hit a proper launch.
Inside the bustling lobby, Alex spotted key figures. Thom Mount, the influential Universal executive who had championed the project, caught Alex's eye and beckoned him over with a smile. Michael Ovitz, radiating quiet power from the center of the CAA contingent, watched nearby, offering Alex a brief, firm handshake as he approached Mount.
"Alex! Good to see you looking sharp," Mount greeted him, clapping him warmly on the shoulder. "There's a real buzz building here, son. You should be proud of the energy around this picture."
"Thank you, Mr. Mount," Alex replied. "It's definitely exciting. I really appreciate Universal giving 'Can't Buy Me Love' this push."
"We believe in the picture. And in you," Mount said, his tone encouraging. "Which reminds me... Nancy got that new script over. '17 Again', right? Read the coverage – smart hook, very clever. John Hughes is a sharp writer."
Alex's eyes lit up with cautious optimism. "Thanks! We worked really hard on it, we think it's got real potential..."
Mount held up a hand gently, his expression still friendly but firm. "And we agree, there's definitely potential there. Universal is enthusiastic, genuinely," he assured Alex, before adding the crucial condition. "But Alex, you know how this town works. Let's see the numbers on 'Can't Buy Me Love' first. Let this one prove the audience is there for your unique brand, for the stories you want to tell. Success tonight makes the '17 Again' conversation much, much easier next week. You understand?"
Alex met his gaze directly. "Yes, sir. Absolutely. Focus on tonight," he confirmed. "Thanks, Mr. Mount. Hope you enjoy the movie."
Mount gave him a final nod before turning to greet another arrival. Alex took a breath, the executive's words echoing – enthusiasm tempered with the hard reality of box office performance. The implicit promise, and the pressure, hung heavy in the air.
Soon, the lights dimmed, and the audience settled. The Universal logo appeared, followed by the opening credits of 'Can't Buy Me Love'. Alex watched intently as the story he'd helped shape unfolded on the big screen. He saw Ronald Miller (played by himself), the quintessential high school nerd in Tucson, saving up his lawn-mowing money for a telescope. He saw Cindy Mancini, the popular cheerleader next door, ruin her mother's suede outfit. He watched the key bargain being struck – $1,000 for Cindy to pose as Ronald's girlfriend for a month, making him look cool.
Alex recalled tweaking these early scenes based on the flickering images from his visions, trying to ground Ronald's desire for acceptance and add subtle layers to Cindy's initial reluctance, making their eventual connection feel more earned than the version he dimly remembered. The film tracked Ronald's transformation – the makeover, ditching his loyal nerdy friends for the superficial popular crowd, the staged breakup where he cruelly hurts Cindy, his descent into arrogance, culminating in the disastrous Halloween prank on his former best friend, Kenneth.
He watched himself perform the 'African Anteater Ritual' dance, a moment Hughes had particularly enjoyed writing into the script based on Alex's suggestion for a unique, awkward display of trying-too-hard popularity. The audience chuckled and seemed captivated by the sheer audacity of the scene. The turning point came at the New Year's Eve party: Ronald drunkenly recites Cindy's secret poem to another girl, Cindy overhears, her actual boyfriend shows up, and she angrily exposes their entire arrangement to the whole party. Ronald becomes an instant outcast.
Alex felt the tension in the theatre during the lead-up to the cafeteria confrontation. When Ronald finally stands up to the jock Quint for bullying Kenneth, delivering his speech about the pointlessness of high school cliques, a wave of applause broke out in the audience. It was a moment Alex and Hughes had carefully crafted, wanting Ronald's redemption arc to feel genuine.
The film moved towards its resolution after the cafeteria scene shifted the school's dynamics. Then came the final, memorable scene: Ronald pulling up to Cindy's house early one morning on his riding lawnmower, ostensibly there to collect the payment on the lawn mowing work . Cindy, dressed and ready to leave with her popular friends who are waiting nearby, sees him. There's a moment of decision. Then, in a move that surprises Ronald, she abandons her waiting friends, runs out, and climbs onto the lawnmower behind him. As they start to ride away, leaving her old crowd behind, Ronald awkwardly asks her to the prom. Cindy, beaming, accepts with a kiss. The final shot captures the new couple riding off together into the sunrise on the lawnmower, prompting cheers and another round of appreciative applause from the premiere audience.
As the credits rolled and the lights came up, the overall feeling was palpable. People were smiling, chatting animatedly. The consensus seemed to be that while the film might have its silly moments, it was ultimately charming, funny, and delivered a genuinely satisfying emotional payoff.
Alex felt a wave of relief wash over him, a warmth spreading through his chest as he absorbed the audience's positive energy. Seeing them laugh, applaud, and connect with the story – his story, brought to life – made all the uncertainty, the hard work, and the pressure of the past few months feel entirely worth it. Maybe, just maybe, they had a hit on their hands.