Going down to the mine, Derrick found on approaching that there was some commotion among the workers at the pit's mouth, and before he turned in to his office, he paused upon the threshold for a few minutes to see what it meant. But it was not a disturbance with which it was easy for an outsider to interfere. A knot of women drawn away from their work by some prevailing excitement, were gathered together around a girl—a pretty but pale and haggard creature, with a helpless despairing face—who stood at bay in the midst of them, clasping a child to her bosom—a target for all eyes. It was a wretched sight, and told its own story.
"Wheer ha' yo' been, Liz?" Derrick heard two or three voices exclaim at once. "What did you coom back for? This is what thy handsome face has browt thee to, is it?"
And then the girl, white, wild-eyed and breathless with excitement, turned on them, panting, bursting into passionate tears.
"Let me a be:" she cried, sobbing. "There's none of yo' need to talk. Let me a-be! I didna coom back to ax nowt fro' none on you! Eh Joan! Joan Lowrie?"
Derrick turned to ascertain the meaning of this cry of appeal, but almost before he had time to do so, Joan herself had borne down upon the group; she had pushed her way through it, and was standing in the centre, confronting the girl's tormentors in a flame of wrath, and Liz was clinging to her.
"What ha' they been sayin' to yo', lass?" she demanded. "Eh! but yo're a brave lot, yo' are—women yo' ca' yo'rsens!—badgerin' a slip o' a wench loike this."
"I did na coom back to ax nowt fro' noan o' them," sobbed the girl. "I'd rayther dee ony day nor do it! I'd rayther starve i' th' ditch—an' it's com in' to that."
