The Man From Beni Mora
Desert, white sand rippling, reddish sky. A figure, on a white horse, head wrapped in a scarf and covered in a hat, wearing an assortment of Western clothes: boots, jodhpurs, a short jacket. As it comes closer we see it’s probably a very young man or a boy.
Then, from the distance, a number of horses, ridden by men in long robes. The first figure pulls out a gun and shoots. There’s a round of gunfire, one of the horsemen falls, and the first figure’s horse is wounded.
Another figure approaches, also in a robe, and shoots in the air: his shots might sound a code, as the other riders disperse. We see him: he’s tall, beardless, frowning.
He gets off his horse, goes to the first figure who’s lying in the sand, unconscious, wounded perhaps. He takes a flask from his hip, splashes water on the recumbent boy’s face, then lifts the boy’s head and shoulders in his arms. We see the boy’s features; not a boy after all, but a pretty young woman in her twenties, with narrow long eyes and an upturned nose.
He’s shaking her.
She wakes up, in a big white bed, switches the lamp on.
- What time is it? she asks.
- Six. You should be going soon. You seemed restless in your sleep. You
called out my name.
- I dreamed we were in Beni Mora again. They were chasing me. And then you came....
We follow her to her car, as she drives through city streets, to a hospital we recognise on the edges of Belgravia. As the titles come up on screen, she enters the hospital. We follow her to her office, see her name on the door. Dr Rubina Hasan. Umair recognises the actress, Alina Murad: she’s also credited as the producer. She’s known for her versatility, plays traditional roles as well as transgressive parts. She’s said to have been a belly dancer somewhere in the Gulf before she came to acting.
The serial is titled GHAZALI.