Once well enough and released from the hospital, Julie returns to the rather grand stone estate house (the family was obviously not lacking in money). On staff, there is a gardener and a maid. The rooms are large and filled with beautiful objects, but Julie wants everything out, especially out of the “blue room.” She has called ahead of time and asks of the gardener when she arrives, “Did you clear out the blue room as I asked?”

"Yes,” he tells her.

It is the first room Julie checks (what is significant about this room, we don’t really know and it’s not really said). The room is clear, save for a blue and clear crystal beaded mobile of sorts that hangs from the ceiling. It catches the light, casting blue and clear light about the blue painted walls. It’s really quite beautiful, but Julie tears hard at the fish-wire cord that strings the crystals together until the wire breaks and a handful of crystals fall into her hand. Here again, more of the rage, but with sharp precision -- controlled. It is never out of control. No matter how angry she may be, Julie’s rage may even be violent, but it is quick and sharp and sudden and always, always controlled.

When the lawyer for the estate arrives, Julie tells him how to parcel out the property. The numbered account is to go to one person (not her). The gardener and maid must be taken care of. The house she does not want (more on this later). And as for her, he asks? She will take money from her own account, she tells him.

Of course, there is no way Julie’s account can in any way match the grandness of what she had with Patrice, but perhaps that is precisely the point. She is slowly divesting herself of all things relating to her former life. The house is to be emptied (particularly this ‘blue room’). She does not want the money and the unfinished symphony? Well, even if she did write it, which seems more and more likely, she is intent on destroying all copies of the symphony, visiting storage houses where it is kept in large rolls (and tossing it into garbage trucks).

Because there is a blank space where Patrice and Anna used to be -- where her family used to be -- then Julie will make that space truly resemble the reality of that void. She will take away all outward manifestations that represent any sort of family. Why pretend, after all? So then, the house must go. Any reminders of Anna or Patrice must go. All of it must go. If there is a void — and there is — then it is in Julie and it cannot be filled by anything or anyone else. Julie will not pretty up her pain for anybody. Even herself. When she finds her housekeeper, Maria, crying in the kitchen, she asks her, “What’s wrong? Why do you cry?”