The development of adaptation studies followed a course away from the relationship of fidelity between the original source and its interpretation in the direction of a broader understanding of interplay between texts and the interpretive choices involved in the adaptation process. Orhan Pamuk’s screenplay Gizli Yüz (The Secret Face), filmed by the prominent Turkish director Ömer Kavur in 1991, reflects this radical shift in our understanding of adaptation processes with its complex intertextual connections. Written between Pamuk’s two major novels, namely The Black Book (1990) and The New Life (1994), The Secret Face can be seen as the multiple versions of the same text, or, to borrow John Bryant’s influential concept, as a “fluid text.” While the basic plotline in the screenplay is based on a chapter in The Black Book, it also prefigures Pamuk’s next novel The New Life, particularly the protagonist’s endless journeys across Türkiye. The textual permeability among the three works displays their thematic connections as well as the shared aesthetic considerations that inform them. As such, The Secret Face invites a reconsideration of the concepts of “originating/source text” and “adaptation.” Is The Secret Face an adaptation of a chapter in The Black Book, or is it the originating source for The New Life? Where does a text end, and a new one begin? The aim of this chapter is to analyse Pamuk’s The Secret Face as an example of a fluid text that exists in multiple versions.