El Pupu

Beginning in Verona Beach, the skyline from the sea's view is blotched with grey, and there are occupied areas in the background, where the civilians have company of funfairs, restaurants and shops. Mercutio fires gunshots into the rippling waves, and the coarse wind of the sea intercalates the background clamours, mounting worriment and a sense of precariousness. Shooting gunshots at nothing but water indicates the sullenness and the enragement he is in; very contrasting to what he was like in the previous scene when he vogues through a glitzy camp performance of "Young Hearts Run Free," atop of a brightly lit staircase in high heels, sprangled bra and Jean Harlow wig, serving the structural function of mab speech, encapsulating the brilliancy, imaginative energy and homosocial bonding of Mercutio's world, just before Romeo encounters the woman who will draw him away from it. Benvolio introduces the scene with tautness and concern by sitting upon a life guard's tower observing Mercutio's activities, then calling out lines 1-2 to persuade Mercutio to "retire" (go home) because "the Capels" (the Capulets) are "abroad" (out and about). Mercutio permits no antiphon, other than three more gunshots into the lapping waves showing the neglect he maintains, meaning that he is not abashed of the Capulet's appearances and he is in a fiery mood, ineluctably implying the concurrence of the two families. The close-up of Benvolio's face is then seen boring critically into the sea, ending his blank verse (containing iambic pentameter) in a cautious intonation with low-pitched, slow paced and low-volume and a series of micro pauses Ð'- "And if we shall meet, we shall not escape a brawl, for now these hot days are a mad blood stirring." The imputation incorporates negativity where Shakespeare uses "mad blood-stirring" and "hot days" to institute an antistrophic image of blood,