The Central Scene At the beginning of the creation of each movie there is usually one central scene: »Of the scripts I've filmed I remember perfectly the first pages I wrote, the ones that were to be the seed and driving-force of future films. My initial impulse is to make a short film from those first pages, but in the end I always turn them into a feature film, not just because it's more profitable but also because these first pages make me tremendously curious about the characters and the situation they are experiencing. If I want to know how they'd got that far and what happens to them afterwards, I am the one who has to find out and write it down. And through investigating the past and the future of these characters, I always discover the story that I had wanted to tell but had no idea of at the beginning.« (Pedro Almodóvar) Because of the described random system of creation, the first sequences Almodóvar writes nearly always correspond to half of the film they generate: In Tie me up! Tie me down! it was Antonio Banderas's statement after he has isolated and immobilized Victoria Abril: »I'm twenty-three years old and have got fifty thousand pesetas. I'm alone in the world, I'd like to be a good husband to you and a good father to your children.« In High Heels it was the first sequence with Victoria Abril's confession on the news, when she admits she committed the murder. The first thing he wrote about Kika was the whole rape episode, from Paul Bazzo's arrival to his disappearing act through the window. The first sequence Almodóvar wrote of The Flower of my Secret, what he was desperate to see on the screen, was the husband's visit. In the (almost) eight versions of the screenplay that he has written, the husband's visit is a sequence which has hardly changed. »It just poured out of me, from the moment the husband rings the bell to when he disappears over the landing. You could say I filmed The Flower because I wanted to film the husband's visit, and his farewell.« (P. Almodóvar)