Avtorica v Edi – zgodbi bratov Rusjan vzporedno razvija dve zgodbi: ena so zgodovinski utrinki iz življenja pionirjev slovenskega letalstva, druga so drobci iz življenja izmišljenih umetnic, »večne« absolventke filmske režije Ede, in njene mame, koncertne pianistke. Obe zgodbi povezuje vprašanje o moči premagovanja samega sebe in svojih strahov. Josip, starejši od bratov Rusjan, izumlja in gradi, a si ne upa storiti tega, kar si drzne Edvard – ki tvega vse, poleti in (kljub tragičnemu koncu) doseže neminljivost. Tudi Eda, ki bi rada posnela dokumentarni film o bratih Rusjan, se na poti do svoje identitete sprašuje, ali je v njej kakšna kaplja Edvardove krvi, kakšen »mali gen, tak, da imaš jajca za kej nardit«. Njena zgodba je zgodba mlade ženske, ki hrepeni po osvoboditvi od pokroviteljske matere, na svoji poti pa spozna, da se vsakdo sam odloči, ali bo v življenju »ždel« ali letel. Zgodbi se stikata tudi v sami uprizoritvi – obe sta namreč izvedeni filmsko: zgodba bratov Rusjan se odvija na odru, a je uprizorjena na način nemega, črno-belega filma, ki pozneje preide v zvočnega, Edina zgodba pa je realno in realistično posnet film, ki ga snema glavna junakinja v sodobni maniri nekakšnega »domačega videa«.

In Eda – The Rusjan Brothers Story the author develops twostories in  parallel: the first one involves historic snippets from the life of the pioneers of Slovenian aviation, the second reveals moments from the lives of fictional artists, an “eternal” film directing student Eda, and her mother, a concert pianist. What connects both stories is the question of the strength to overcome oneself and one's fears. Josip, the elder of the Rusjan brothers, invents and builds, but daren't do what Edvard does: risk everything, and (despite the tragic ending) achieve immortality. Eda, who wants to make a documentary about the Rusjan brothers, is also on the road to her own identity, asking herself whether there is a drop of Edvard's blood, a “small gene, the one that gives you the balls to do something”. Her story is the story of a young woman who longs to break free from her dominant mother and along the way discovers that people have to decide for themselves if they want to roost or fly.  The stories are joint in the performance itself as well, as both use film as a medium: the Rusjan brothers' story unfolds on stage, but is staged in the manner of a silent, black-and-white film that later becomes a sound film. Eda's story is a real and realistic footage that the main character films herself in the manner of a “home video”.