OF the many boys who were curious about Paul Grayson’s antecedents, no one devoted more attention to the subject than Benny Mallow. Benny was short, and Paul was tall; Benny was fat, and Paul was thin; Benny’s hair was light, while Paul’s was black as jet; Benny had light blue eyes, while those of Paul were of a rich brown; Benny always had something to say about himself, while Paul never seemed to think his affairs of the slightest interest to any one but himself: so, taking all things into account, it is not wonderful that Benny Mallow spent whole half-hours in contemplating his friend with admiration and wonder.

Still more, as Benny had been accepted by every one as Paul’s particular friend, he actually was besieged with all sorts of questions, and to answer these without letting himself down in the estimation of the school was no easy matter, when he did not know any more about Paul than any one else did. One question, however, he settled to the entire satisfaction of every one but Napoleon Nott—Grayson was not an exiled prince. Benny was sure of this, because he had asked Paul if he had ever been on the other side of the ocean, and Paul had answered that he had not. Notty endeavored to make light of this evidence by showing how easy it would have been to spirit the mysterious person away from his royal home and to America while he was a baby, and therefore too young to know anything about it; but Will Palmer told Notty that it was about time to stop making a fool of himself, and the other boys present said they thought so too, at which Notty became so angry that he vowed, in the presence of at least a dozen boys, that when the truth came out, and all the boys wanted to borrow his copy of “The Exiled Prince: a Tale of Woe,” he would not lend it to them, even if it were to save them from death; he would not even let them look at the cover, with its picture of the prince and the name of the publisher.

Meanwhile Mr. Morton had continued his visits to the prisoners and to the poor of the town, and out of school hours he had so interested the boys in some of the suffering families of worthless men or widowed women, that it was agreed by the whole school that the teasing of any of the boys of these families about the holes in their trousers, or provoking fights with or between them, should entirely stop; indeed, as this suggestion came from Bert Sharp, who was fonder of fighting than any other boy in the town, the school could not well do otherwise.

The boys went even farther: when one day old Peter Beantassel, whose family was always on the verge of starvation, spent on drink the accidental earnings of a week, and then fell into an abandoned well and was drowned, it was decided by the school to give an exhibition for the benefit of Mrs. Beantassel and her six children. Mr. Morton was delighted, and promised to secure a church or hall without expense to the boys, and to collect enough money from the public to pay for printing the tickets. The boys at once began work in tremendous earnest; they were for a fortnight so busy at determining upon a programme, and studying, rehearsing, selling tickets, and exacting promises from people who would not purchase in advance, that there was but little playing before school and during recess, blackberry hedges were neglected, and the trout in the single brook near the town had not the slightest excuse for apprehension.

Paul Grayson entered into the spirit of the occasion as thoroughly as any one else; he volunteered to recite Longfellow’s “Psalm of Life,” and when the farce of “Box and Cox” was about to be given up because no boy was willing to dress up in women’s clothes, and be laughed at by all the larger girls, for playing the part of Mrs. Bouncer, Paul volunteered for that unpopular character, and saved the play. But this was not all. There were to be some tableaux; and as Mr. Morton had been asked to suggest some scenes, particularly one or two with Indians in them, and was as fond of pointing a moral as teachers usually are, one of his tableaux, to be called “Civilization,” was a scene in the interior of an Indian’s wigwam. The squaw, who had just been killed, was lying dead on the floor; her husband, with his hands tied, stood bleeding between two soldiers, while between father and mother stood the half-grown son, wondering what it all was about. As all of the boys wanted to see this tragic picture, all of them declined to take part in it; Joe Appleby had been heard to remark with a sneer that only very small and green boys cared to look at Indians, so he was asked to take the part of the wretched son himself; but he said that when any one saw him making a fool of himself by browning his face and dressing up in rags, he hoped some one would tell him about it: so Grayson, as the only other tall boy who had dark hair that was not cut short, was cast for this part also, and offered no objection. As for the bleeding chieftain, Napoleon Nott fought hard to pose in that character, and was quieted only by being allowed to play the dead squaw, which all the boys told him he ought easily to see was the more romantic part, besides being one in which he could by no chance make any mistake.

The place selected for the entertainment was the lecture-room of the Presbyterian church, and the boys had therefore to give up their darling project of devoting half an hour of the evening to amateur negro minstrelsy; for one of the deacons said that while he sometimes doubted that even an organ was a proper musical instrument for use in sacred buildings, he certainly was not going to tolerate banjos and bones. This decision was a great disappointment to Benny Mallow, who had been selected by the managers to perform upon the tambourine, but in the revision of the programme Benny was assigned to duty in a tableau as a little fat goblin, and this so tickled his fancy that he did not suffer long by the disappointment.

At last the eventful night arrived. Some of the boys did not leave the lecture-room at all after the last rehearsal, not even to get their suppers, for fear they should be late, and those who reached the room barely in time to take their parts had all they could do to squeeze through the crowd that blocked the doors and filled the aisles. The spectacle of so crowded a house raised the boys to a high pitch of excitement, which was increased by various peeps, from the curtains that served as dressing-rooms, at the Beantassel children, who by some thoughtful soul had been provided with free seats in the extreme front bench; there they were, all but the baby; they had been provided with clothing which, though old, was far more sightly than the rags they usually wore, and although they did not seem as much at ease as some others among the spectators, their eyes stood so very open, then and throughout the evening, that even Joe Appleby, who had reluctantly consented to pose, in his best clothes, with gloves, cane, and high hat, as Young America in a tableau of “The Nations,” agreed with himself that the exhibition was rather a meritorious idea after all, and that even if the boys did as badly as he knew they would, he was glad it was sure to pay.

But the boys did not do badly; on the contrary, the general performance would have been quite creditable to adults. The opening was somewhat dismal; it was announced to consist of a duet for two flutes by Will Palmer and Ned Johnston. The boys had practised industriously at several airs in order to discover which would be best, and at last they supposed they had fully agreed; but when seated Ned began the Miserere from “Trovatore,” while Will started “The Old Folks at Home;” and each was sure the other was wrong, and would correct himself, which the other in both cases failed to do; the two boys finally retired abruptly, amid considerable laughter, and fought the matter out in the dressing-room.

Paul Grayson soon restored order, however, by his rendering of the “Psalm of Life.” He had a fine voice, and he spoke the lines as if he meant them; so gloriously did his voice ring that even the boys in the dressing-room kept silence and listened, though they had heard the same verses a hundred times before.

Most of the performances that followed went very smoothly, although Benny Mallow, who played the Hatter’s part in “Box and Cox,” caused some confusion by laughing frequently and unexpectedly, because Paul’s disguise as Mrs. Bouncer affected him powerfully in spite of the efforts made by Sam Wardwell, as the Printer, to restrain him. The tableaux pleased the audience greatly; even that of “Prometheus,” with Ned Johnston as the sufferer, and Mrs. Battle’s big red rooster as the vulture, brought down the house.

But the great tableau of the evening was the teacher’s “Civilization.” When Paul Grayson had understood fully what the scene was to be, he refused so earnestly to have anything to do with it that the boys were startled. They did not excuse him from taking the part of the young Indian, however; they pleaded so steadily that at last Paul consented, but in worse temper than any one had ever seen him before. No one could complain of the manner in which he acted on the stage, however. When the curtain was drawn he was seen standing beside his dead mother, and shaking a fist at the soldiers; in color, dress, pose, and spirit he seemed to be a real Indian, if the audience was a competent judge; then, when the applause justified a recall, as it soon did, the drawn curtain disclosed Paul clinging to the wounded brave as if nothing should ever tear him away.

Napoleon Nott saw all this, although, as the Indian boy’s mother, he was supposed to be dead beyond recall. Suddenly he felt himself to be inspired, and when the curtain was down he flew into the dressing-room and exclaimed, “I’ve got it!”

“Be careful not to hurt it,” said Canning Forbes, sarcastically.

“I’ve got it!” declared Notty, without noticing Canning’s cruel speech. “Grayson is an Indian, a chief’s son. You don’t suppose he could have made believe so well as all that, do you? That’s it. I knew he was a great person of some sort. Sh—h! he’s coming.”

Somehow the boys who had been able to peep out at the tableau did not laugh at Notty this time. Paul, in his Indian dress, had greatly impressed them all before he left the dressing-room, and certainly his acting had been unlike anything the boys had seen other boys do. The subject was talked over in whispers, so that Paul should not hear, during the remainder of the evening, with the result that that very night at least six boys told other boys or their own parents, in the strictest confidence, of course, that there was more truth than make-believe about Paul Grayson as an Indian. And the parents told the same story to other parents, the boys told it to other boys, and within twenty-four hours Paul Grayson was a far more interesting mystery than before.