Hadrian settles into Count Mataro’s household under the name Hadrian Gibson, but the luxurious chambers feel like another prison. Still recently accustomed to barracks, streets, and the Colosso, Hadrian sleeps on the floor, resents the servants, and worries that Ghen, Pallino, Siran, Elara, Switch, and the others will think Hadrian abandoned them.

Unable to send messages and aware that Hadrian is being watched, Hadrian chooses to behave as expected. While sketching Borosevo after supper, a knock comes at the locked door. Mataro’s guards enter, search Hadrian, confiscate a folding knife and drawing pencils, and admit Count Mataro’s children, Anaïs and Dorian.

Hadrian recognizes the pair as palatine heirs and resumes the formal masks of courtly behavior. Dorian greets Hadrian warmly and eagerly, while Anaïs studies Hadrian with sharper, more unsettling attention. Their questions reveal that Count Mataro has presented Hadrian as a traveled, educated man and former fighter, not merely as a captive or servant.

Dorian remembers Hadrian’s arena performance and asks about Jaddian, giving Hadrian a chance to demonstrate the language. Anaïs comments on Hadrian’s training and then seizes Hadrian’s sketchbook without permission. Hadrian suppresses anger and maintains the meek politeness expected of Hadrian Gibson, while Anaïs praises the bleak drawing of Borosevo and Dorian asks whether Hadrian can draw portraits.

Hadrian attempts to end the visit by implying fatigue, but Anaïs and Dorian ignore the hint. They invite Hadrian to meet their friends and accompany them to the Colosso in their father’s box, where Hadrian can tell stories while they watch the fights. Hadrian accepts because refusal would be improper, though the prospect of watching Hadrian’s former comrades fight from a noble’s box deepens the sense that Hadrian has reentered a world of masks, hierarchy, and traps.