ABSTRACT
The Book of Disquiet is more haunting than haunted. Quillier is slightly more positive than Ferrari and Fischer or Guerreiro in imagining that Pessoa could not fail to be inspired by possibilities of cinema and its effects of representation, given his own multiplicity as expressed in the heteronymic creation. Ferrari, Fischer, Guerreiro and Quillier note some of the principal elements of the fragments of film scripts written by Pessoa, all apparently datable to the 1920s: an emphasis on spaces, either the confined space of an ocean liner or the equally confined space of a cemetery, the questioning of identity by virtue of doubles, the emphasis on a mystery that makes them almost like detective stories. The logic of the crypt is not the logic of the secret. Even though both share an element of occultation and seclusion, in the sense of sealing, secret only constitutes itself fully in the moment of being dissolved, whereas a crypt never reveals itself properly.
