Authors' Pages:  Gerald Spencer and Marcela Basteri.
Barukh atah Adonai . . . shehekhyanu vekiymanu vehigianu lazman hazeh
Book Synopsis: Romeo and Juliet Have a Son
"You come of the Lord Adam
and the Lady Eve and that is
both honor enough to erect the
head of the poorest beggar, and
shame enough to bow the
shoulders of the greatest
emperor on earth. Be content."
C. S. Lewis
I, WHO erewhile the happy Garden sung
By one man's disobedience lost, now sing
Recovered Paradise to all mankind,
By one man's firm obedience fully tried
Through all temptation, and the Tempter foiled
In all his wiles, defeated and repulsed,
And Eden raised in the waste Wilderness.
Thou Spirit, who led'st this glorious Eremite
Into the desert, his victorious field
Against the spiritual foe, and brought'st him thence
By proof the undoubted Son of God, inspire,
As thou art wont, my prompted song, else mute,
And bear through highth or depth of Nature's bounds,
With prosperous wing full summed, to tell of deeds
Above heroic, though in secret done,
And unrecorded left through many an age:
Worthy to have not remained so long unsung.
- John Milton, Paradise Regained

All works copyrighted, Gerald Spencer 2001 - 2006 all rights reserved.

The Romeo and Juliet Chronicles, Part 6: Romeo and Juliet Have a Son. Synopsis. Gerald
Spencer, author. 290 pages.*
Spencer frequently travels to Milano for his work, a global intelligence agency. He picks
up local information from sources in Milano, analyzes it, passes it forward. He and his
wife, Carol, have neighbors who are from Italy. Carol and the neighbor wife spend much
time together. Before they arrive, two other lovers are already enticed to come to Spain
and onward to Italy. Thinking they were coming for two weeks, the return to the Americas
is put off around each corner by “Contract and recording schedule conflicts.” They are
kept only long enough to get the job done then released to go on their way.
Spencer and Carol spend the summer at an ancient upscale pensione in Milano, where
their every need and whim is catered to by an elderly couple named the Algheri. Spencer
and Carol's every move are also closely watched. The married couple meet Gian Como
Sabatini, Giani, when they stop at a restaurant for after dinner coffee and drinks.
Becoming friendly with Giani and the waiter, Paulo, they accept an invitation from the
smooth, handsome Giani who's telling them tales of old families that occupied this city
long ago. From the restaurant they travel to a night club specializing in singles' desires.
On the grounds is an entrancing fountain sculpture that Spencer finds difficult to leave.
The following day the two meet Luisito and Marcela, a Spaniard and his Italian girlfriend.
He is a singer and guitarist, she a model who is on the cast rehearsing at La Scala's opera
for the coming season. It is love at first sight for both Marcela and for Spencer. The
foursome go on an intimate tour of the cathedral, then on to La Scala where Spencer
becomes even more intimate with Marcela as the pair play at Romeo and Juliet in a
private box overlooking the stage. Carol is off somewhere in the building's warrens with
Luisito. Spencer already thought he was borderline schizophrenic before meeting a Tarot
reader and her brother. Implied information and revelations push him to taking poison and
end his seemingly useless life.
Spencer returns to business in Germany for a week where he is distracted by young
healthy long legged bodies. Marcela pines for the absent Spencer while Carol and Luisito
stumble on the building's dining room when they go off to raid the kitchen. The two are
astounded to see a wall sized old painting that appears to be Marcela's and Spencer's . . .
(Full synopsis available on request.)

All works copyrighted, Gerald Spencer
2001 - 2006 all rights reserved.
* Historical Fiction Disclaimer (Required for works not having imprimatur).

are factual and a matter of public record, the conversations held between
fabricated. Wherever possible, the authors have attempted to use actual
the historical/public figures and the fictional characters are completely
fabricated. Wherever possible, the authors have attempted to use actual
has been taken with context and motivation.
phrases of the speaker and to keep to the known facts, but literary license
has been taken with context and motivation.

All opinions expressed by the authors are solely those of the authors and
do not represent the opinions of any of the historical/public figures in these
Ha’le’val She’Timshol Al Ha’Hoseh Ve’Ali