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Hayley asked her why did she act angry with her about it. In tears, Alexia confesses that she grew bored of being popular and that she had been jealous of Hayley's intellect and well-structured plans for her future. She also reveals that on her first day as Hayley, she discovers the struggles that her sister and the unpopular kids go through with the bullying from their classmates on a daily basis. From that moment on, Alexia regretted her past mistreatment towards everyone in general. She mentions that she's aware her friends are shallow, Kyle was planning to dump her over their self-imposed rules and how she had no chance of getting into college due to her underachieving status. Alexia then mentions that with her intellect and plans, she knew Hayley would never make her mistake. Realizing that it was their combined wishing that caused their switch, Alexia and Hayley sit outside and, seeing a shooting star, wish together to be themselves again. Opening their eyes, they are delighted to see their wish has come true.
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Chantelle does not find her behavior acceptable. But May-Alice has the money and Chantelle needs the job, for more urgent reasons than we first realize, and so it seems that Chantelle may have to put up with May-Alice's behavior. Yet in a deeper sense, one that only gradually reveals itself to May-Alice, what she needs most of all from Chantelle is the other woman's ability to stand up to her. There are elements here of a vaguely similar relationship in " Driving Miss Daisy, " but Sayles has his own film, direct and original, and in the struggle of wills between these two characters he creates two of the most interesting human portraits of the year. The struggle at the heart of the movie is lightened by the comic portraits of May-Alice's many visitors (I would have liked to see a whole movie about Uncle Max, and an old friend named Precious deserves a short subject of her own). The romance is handled with a delicate, tentative touch that reflects the character's feelings for one another.