The story consists of an event structure which is important not by what it reveals, but by what it passes over in silence. Emma has retreated from the outside world in her flower shop. She is preoccupied with the creation of a model of a Garden . The Garden is a metaphor of an imaginary world. It doesn't have any utilitarian meaning, but in spite of this, or probably because of this all the other characters get emotionally attracted to it. In the course of building and living in this world-game few things take place. They are more of invisible motions than actual events: Sonia spends her time in the flower shop burdening Emma with her emotional uncertainties concerning Philip. She has developed oversensitivity towards the object of her desire. She and Philip have been going out for a month now, and even if he seams very attentive to her, she feels rather scared than happy. Nevertheless her doubts and fears have always their intuitive grounds. While working at the Flower shop and helping out Emma, Victor realizes that he actually is in love with her. This realization is devastating for him – he knows that Emma has redrawn from the outside world and that he has no chance with her. He gets depressed but tells nobody the reason for this. Gradually his feelings for Emma get canalized to the Garden. He keeps on working at the shop where the Garden becomes his raison d'être. He gets stoically devoted to it, equating love with craving. While trying to save his brother from one of his emotional collapses, Philip meets Emma. Philip is deeply attached to Victor, but even he doesn't manage to perceive Victor's secret. Philip knows how to keep the delicate balance between his work (he is a successful lawyer), Sonia's emotional demands (he is very attracted to her) and the care for his emotionally unstable brother (unconsciously Philip likes being concerned for Victor). In his well organized world the encounter with Emma seams completely unforeseen – on the top of everything they themselves, their worlds and interests are completely different. In spite of that, Emma and Philip gradually establish a smooth communication which only subject is the Garden. Even if there is a strong energy flow, the relation between them evades any labeling. While discussing the Garden they experience a strong moment of shared intimacy, but practically speaking nothing happens between them. At one point Victor tells Philip that he is secretly in love with Emma. Philip is in an emotional turmoil - he is surprised, devastated and deeply moved at the same time. For the first time, his brother takes responsibility for his own feelings. Philip decides never to admit his own feelings for Emma. Emma shares the identical frequencies with Philip with the same calmness with which she accepts the impossibility of their story. She lets herself into the thrill only because she accepts its foredoomed beauty. The ending remains open. There is a scene between Philip and Emma that practically repeats another scene from the beginning of the story. A sort of deja vu which re-starts the emotional flow of the characters and at the same time preserves their innocence. The leitmotif of the whole story is the endless phrase of Gertrude Stein: Rose is a Rose is a Rose is a Rose... This is a story about living in parallel poetic worlds and considering them as the only reliable reality we could dispose of. This reality is magical and doomed at the same time. It feeds our longing for unbearable beauty and love. Love as desire, love as a shared energy exchange, love as a starting point of any motion.