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CHAPTER III.
TAKING AWAY AND IDENTIFYING THE DEAD

In drays and delivery wagons they carried the dead away from the Iroquois theater ruins. The sidewalk in front of the playhouse and Thompson's restaurant was completely filled with dead bodies, when it was realized that the patrol wagons and ambulances could not remove the bodies.

Then Chief O'Neill and Coroner Traeger sent out men to stop drays and press them into service. Transfer companies were called up on telephone and asked to send wagons. Retail stores in State street sent delivery wagons.

Into these drays and wagons were piled the bodies. They lay outstretched on the sidewalk, covered with blankets. Much care in the handling was impossible. As soon as a space on the walk was made by the removal of a body two were brought down to fill it.

One of the wagons of the Dixon Transfer Company was so heavily loaded with the dead that the two big horses drawing it were unable to start the truck. Policemen and spectators put their shoulders to the wheels.

When the drays were filled and started there was a struggle to get them through the crowds, densely packed, even within the fire lines which the police had established across Randolph street at State and Dearborn streets.

Policemen with clubs preceded many of the wagons. The crowds through which they forced their way were composed mostly of men who had sent wives and children to the theater and had reason to believe that one of the drays might carry members of their own families.

Eight and ten wagons at a time, half of them trucks and delivery wagons, were backed up to the curb waiting for their loads of dead.

Two policemen would seize a blanket at the corners and swing it, with its contents, up to two other men in the wagon. This would be continued until a wagonload of bodies had been handled. Then the police forced a way through the crowd and another wagon took the place.

Occasionally a body would be identified, and then efforts were made to remove it direct to the residence. Coroner Traeger discovered the wife of Patrick P. O'Donnell, president of the O'Donnell & Duer Brewing Company.

"Telephone to some undertaking establishment and have them take Mrs. O'Donnell's body home," he ordered one of his assistants. It was taken to the residence, at 4629 Woodlawn avenue.

Friends of another woman who were positive they identified the body among the dead in Thompson's were allowed by the coroner to remove it to Ford's undertaking establishment, in Thirty-fifth street.

HEARTRENDING SCENES WITNESSED AT THE UNDERTAKING ESTABLISHMENTS

The bodies of the fire victims were distributed among the undertaking rooms and morgues most convenient. By 8:30 o'clock 135 bodies lay on the floors in the establishment of C. H. Jordan, 14-16 East Madison street, and in the temporary annex across the alley. The first were brought in ambulances and in police patrol wagons. Later all sorts of conveyances were pressed into service, and during more than two hours there was a procession of two-horse trucks, delivery wagons, and cabs, all bringing dead. It soon became evident that the capacity of the place would be exhausted and the men, who sat drinking and talking at the tables in the big ante-room in a saloon across the alley were driven out, and this also was arranged for use as a temporary morgue.

Two policemen were in charge of each load of the dead, and as soon as the first few bodies were received, they began searching for possible marks of identification. All jewelry and valuables, as well as letters, cards, and other papers were put in sealed envelopes, marked with a number corresponding with that on the tag attached to the body. When this work was completed all the envelopes were sent to police headquarters, and all inquirers after missing friends and relatives were referred to the city hall to inspect the envelopes.

The scenes in the two long rooms of the morgue in the saloon annex across the alley were so overpowering that they appeared to lose their effect. Many of the bodies last brought from the theater were sadly burned and disfigured and almost all of the faces were discolored and the clothing rumpled and wet.

The condition of many of the bodies evidenced a vain battle for life. Almost all of them were women or children, and the majority had been well dressed. Among them were several old women. The men were few. In many cases the hands were torn, as if violent efforts had been made to wrench away some obstruction.

As quickly as the work of searching the bodies was completed, the attendants stretched strips of muslin over the forms, partly hiding the pitiful horror of the sight.

Persons were slow in coming to the undertakers in search of friends. Many had their first suspicion of the catastrophe when members of theater parties failed to return at the usual hour.

Among the first to arrive at Jordan's were George E. McCaughan, attorney for the Chicago & Rock Island railroad, 6565 Yale avenue, who came in search of his daughter, Helen, who had attended a theater party with other young women. A friend had been in Dearborn street when the fire started and soon after had discovered in Thompson's restaurant the body of Miss McCaughan. He attached a card bearing her name to the body, and, leaving it in the custody of a physician, went to the telephone to notify the father. When he returned to the restaurant the body already had been removed and the friend and the father searched last night without finding it.

As it grew later the crowd around the doors increased, but almost every one was turned away. It would have been impossible for persons to have passed through the long rooms for the purpose of inspecting the bodies, they were so close together. Women came weeping to the doors of the undertaking shop and beat upon the glass, only to be referred to the city hall or told "to come back in the morning."

Later it was learned that physicians would be admitted for the purpose of inspecting and identifying the dead, and many persons came accompanied by their family doctors for that purpose. Two women, who pressed by the officer at the door, sank half fainting into chairs in the outer office. They were looking for Miss Hazel J. Brown, of 94 Thirty-first street, and Miss Eloise G. Swayze, of Fifty-sixth street and Normal avenue. A single glance at the long lines of bodies stretched on the floor was enough to satisfy them. They were told to return in the morning or to send their family physician to make the identification.

"The poor girls had come from the convent to spend the holiday vacation," sobbed one of the women.

During the evening the telephone bell constantly was ringing, and persons whose relatives had failed to return on time were asked for information.

"Have you found a small heart-shaped locket set with a blue stone?" would come a call over the wire, and the answer would be, "We can tell nothing about that until morning."

At Rolston's undertaking rooms were 182 bodies, lying four rows deep in the rear of 18 Adams street and three rows deep in the rear of 22 Adams street.

On the floors, tagged with the numerals of the coroner's scheme for identification, were bodies of men, women, and children awaiting identification. One was that of a little girl with yellow hair in a tangle of curls around her face. She appeared as if she slept. A silk dress of blue was spread over her and the sash of white ribbon scarcely was soiled.

Over the long lines of the dead the police hovered in the search for identifying marks and for valuables. Most of the bodies were partly covered with blankets.

Outside a big crowd surged and struggled with the police. Not till 10 o'clock were the doors opened. Then Coroner Traeger arrived, and in groups of twelve or fifteen the crowd was permitted to pass through the doors.

There was a pathetic scene at Rolston's morgue when the body of John Van Ingen, 18 years old, of Kenosha, Wis., was identified. Friends of the Van Ingen family had spent the entire evening searching at the request of Mr. and Mrs. Van Ingen, who were injured. At midnight four of the Van Ingen children, who were believed to have perished in the fire, had not been accounted for. They were: Grace, 2 years old; Dottie, 5 years old; Mary, 13 years old; and Edward, 20 years old.

In the undertaking rooms of J. C. Gavin, 226 North Clark street, and Carroll Bros., 203 Wells street, forty-five bodies swathed in blankets were awaiting identification at midnight. Of the fifty-four brought to these places only nine had been identified by the hundreds of relatives and friends who filed through the rooms, and in several cases the recognition was doubtful.

An atmosphere of awe appeared to pervade the places, and no hysterical scenes followed the pointing out of the bodies. The morbid crowds usually attendant on a smaller calamity were absent, and few except those seeking missing relatives sought admission. Only one of the men, James D. Maloney, wept as he stood over the body of his dead wife.

"I can't go any further," he said. "Her sister, Tennie Peterson, who lived in Fargo, N. D., was with her, and her body probably is there," motioning to the row of blanket-covered forms, "but I can't look. I must go back to the little ones at home, now motherless."

In Inspector Campbell's office at the Chicago avenue station Sergeant Finn monotonously repeated the descriptions, as the scores of frantic seekers filled and refilled the little office. Several times he was interrupted by hysterical shrieks of women or the broken voices of men.

"Read it again, please," would be the call, and, as the description again was read off, the number of the body was taken and the relatives hurried to the undertaking rooms. The bodies of Walter B. Zeisler, 12 years old, Lee Haviland and Walter A. Austrian were partly identified from the police descriptions.

The list of hospital patients also was posted in the station and aided friends in the search for injured.

Sheldon's undertaking rooms at 230 West Madison street were the scene of pathetic incidents. Forty-seven bodies, some of them with the clothing entirely burned away, and with few exceptions with features charred beyond recognition, had been taken there. Late in the night only four had been identified. The first body recognized was that of Mrs. Brindsley, of 909 Jackson boulevard, who had attended the matinee with Miss Edna Torney, daughter of Mr. and Mrs. P. Torney, 1292 Adams street. Mr. Torney could find no trace of the young woman.

Of the forty-seven bodies thirty-six were of matured women and five of men. There were bodies of six children, three boys and three girls.

Dr. J. H. Bates, of 3256 South Park avenue, was searching for the bodies of Myrtle Shabad and Ruth Elken, numbered among the missing.

There were similar scenes at all of the undertaking rooms to which bodies were taken.

"When the fire broke out I was taking tickets at the door," said E. Lovett, one of the ushers. "The crowd began to move toward the exits on the ground floor, and I rushed to the big entrance doors and threw three of them open. From there I hurried to the cigar store and called up the police and fire departments.

"When I returned I tried to get more of the doors open, but was shoved aside and told that I was crazy. The crowd acted in a most frenzied manner and no one could have held them in check. Conditions on the balconies must have been appalling. They were well filled, but the exits, had they been opened, would have proved ample for all."

Michael Ohle, who was ushering on the first balcony, noticed the fire shortly after it started. He hurried to the entrances and cleared the way for the people to get out. Then, he says, he started downstairs to find out how serious the fire was. Before he could return the panic was on and he fled to the street for safety.

"Mrs. Phillipson, Phillipson – is Mrs. Phillipson here?"

That cry sounded in drug stores, cigar stores, and hotels until three little girls, Adeline, Frances, and Teresa, had found their mother, from whom they were separated in the panic. At last at the Continental hotel the call was weakly answered by a woman who lay upon a couch, more frightened than hurt. In another moment three little girls were sobbing in their mother's lap.

FRIENDS AND RELATIVES EAGERLY SEARCH FOR LOVED ONES MISSING AFTER THEATER HOLOCAUST

Friends sought for information of friends; husbands asked for word of wives; fathers and mothers sought news of sons and daughters; men and women begged to be told if there was any knowledge of their sweethearts; parents asked for children; and children fearfully told the names of missing playmates.

The early hours of the evening were marked by many sad scenes. Men would rush to the desk where the names of the missing were being compiled and asked if anything had been heard of some member of their families, then turn away and hurry out, barely waiting to be told that there would be no definite news until nearly midnight.

"Just think!" said one gray headed man, leaning on the arm of a younger man who was leading him down the stairs, "I bought the matinee tickets for the children as a treat, and insisted that they take their little cousin with them."

"Have you heard anything of my daughter?" asked a woman.

"What was her name?"

"Lily. She had seats in the first balcony with some girl friends. You would know her by her brown hair. She wore a white silk shirt waist and a diamond ring I gave her for Christmas. I went to the theater, but I couldn't get near it, and they said they were still carrying out bodies."

"And her name? Who was she?"

"She was my daughter – my only one!"

The woman walked away, weeping, without giving the name, and the only response she would make to questions from those who followed her was:

"My daughter!"

Two men, with two little boys, came in. "Our wives," they said, "came to the matinee with some neighbors. They have not yet come home."

Before they could give their names a third man ran up and cried:

"I just got word the folks have been taken home in ambulances. They are alive."

The men gave a shout and were gone in an instant.

Men with children in their arms came to ask for others of the family who had become separated from them in the panic at the theater. Women, tears dampening their cheeks, hushed the chatter of their little ones while they gave the names of husbands and brothers, or told of other children who had been lost.

One man yielded to his fears at the last minute and went away without asking for information or giving any name. He said:

"I went to the theater with my wife. We have only been married a year. When the rush came I was torn away from her, and the last thing I remember is of hearing her call my name. Then I was lifted off my feet and can recall nothing more except that I found myself in the street. I have been to all the hospitals and morgues, and now I am going back to the theater again."

So it went until the last dreaded news began coming in. Identifications were being made and hearts were being broken. After that time the inquiries were not for information; they were pleas to be told that a mistake had been made or that one was possible.

CHAPTER IV.
SCENE OF HORROR AS VIEWED FROM THE STAGE

All but one of the 348 members of the "Bluebeard" company escaped, although many had close calls for their lives. Some of the chorus girls displayed great coolness in the face of grave peril. Eddie Foy, who had a thrilling experience, said:

"I was up in my dressing room preparing to come on for my turn in the middle of the second act when I heard an unusual commotion on the stage that I knew could not be caused by anything that was a part of the show. I hurried out of my dressing room, and as I looked I saw that the big drop curtain was on fire.

"The fire had caught from the calcium and the paint and muslin on the drop caused the flames to travel with great rapidity Everything was excitement. Everybody was running from the stage. My 6 year old son, Bryan, stood in the first entrance to the stage and my first thought naturally was to get him out. They would not let me go out over the footlights, so I picked up the boy and gave him to a man and told him to rush the boy out into the alley.

"I then rushed out to the footlights and called out to the audience, 'Keep very quiet. It is all right. Don't get excited and don't stampede. It is all right.'

"I then shouted an order into the flies, 'Drop the curtain,' and called out to the leader of the orchestra to 'play an overture. Some of the musicians had left, but those that remained began to play. The leader sat there, white as a ghost, but beating his baton in the air.

"As the music started I shouted out to the audience, 'Go out slowly. Leave the theater slowly.' The audience had not yet become panic stricken, and as I shouted to them they applauded me. The next minute the whole stage seemed to be afire, and what wood there was began to crackle with a sound like a series of explosions.

"When I first came out to the footlights about 300 persons had left the theater or were leaving it. They were those who were nearest the door. Then the policemen came rushing in and tried to stem the tide towards the door.

"All this happened in fifteen seconds. Up in the flies were the young women who compose the aerial ballet. They were up there waiting to do their turn, and as I stood at the front of the stage they came rushing out. I think they all got out safely.

"The fire seemed to spread with a series of explosions. The paint on the curtains and scenery came in touch with the flames and in a second the scenery was sputtering and blazing up on all sides. The smoke was fearful and it was a case of run quickly or be smothered."

Stage Director William Carleton, who was one of the last to leave the stage when the flames and smoke drove the members of the company out, said:

"I was on the stage when the flames shot out from the switchboard on the left side. It seemed that some part of the scenery must have touched the sparks and set the fire. Soon the octette which was singing "In the Pale Moonlight," discovered the fire over their heads and in a few moments we had the curtain run down. It would not go down the full length, however, leaving an opening of about five feet from the floor. Then the crowd out in front began to stampede and the lights went out. Eddie Foy, who was in his dressing room, heard the commotion, and, rushing to the front of the stage, shouted to the spectators to be calm. The warning was useless and the panic was under way before any one realized what was going on.

"Only sixteen members of the company were on the stage at the time. They remained until the flames were all about them and several had their hair singed and faces burned. Almost every one of these went out through the stage entrance on Dearborn street. In the meantime all of those who were in the dressing room had been warned and rushed out through the front entrance on Randolph street. There was no panic among the members of the company, every one seeming to know that care would result in the saving of life. Most of the members were preparing for the next number in their dressing rooms when the fire broke out, and they hurriedly secured what wraps they could and all dashed up to the stage, making their exit in safety.

"The elevator which has been used for the members of the company, in going from the upper dressing rooms to the stage, was one of the first things to go wrong, and attempts to use it were futile.

"It seems that the panic could not be averted, as the great crowd which filled the theater was unable to control itself. Two of the women fainted."

"When the fire broke out," said Lou Shean, a member of the chorus, "I was in the dressing room underneath the stage. When I reached the top of the stairs the scenery nearby was all in flames and the heat was so fierce that I could not reach the stage door leading toward Dearborn street. I returned to the basement and ran down the long corridor leading toward the engine room, near which doors led to the smoking room and buffet. Both doors were locked. I began to break down the doors, assisted by other members of the company, while about seventy or eighty other members crowded against us. I succeeded in bursting open the door to the smoking room, when all made a wild rush. I was knocked down and trampled on and received painful bruises all over my body."

"I was just straightening up things in our dressing room upstairs," said Harry Meehan, a member of the chorus, who also acted as dresser for Eddie Foy and Harry Gilfoil, "when the fire started. Both Mr. Foy and Mr. Gilfoil were on the stage at the time. I opened Mr. Foy's trunk and took out his watch and chain and rushed out, leaving my own clothes behind. I was so scantily dressed that I had to borrow clothes to get back to the hotel. Mr. Gilfoil saved nothing but his overcoat."

Herbert Cawthorn, the Irish comedian who took the part of Pat Shaw in the play "Bluebeard," assisted many of the chorus girls from the stage exits in the panic.

"While the stage fireman was working in an endeavor to use the chemicals the flames suddenly swooped down and out, Eddie Foy shouted something about the asbestos curtain and the fireman attempted to use it, and the stage hands ran to his assistance, but the curtain refused to work.

"In my opinion the stage fireman might have averted the whole terrible affair if he had not become so excited. The chorus girls and everybody, to my mind, were less excited than he. There were at least 500 people behind the scenes when the fire started. I assisted many of the chorus girls from the theater."

Said C. W. Northrop, who took the part of one of Bluebeard's old wives: "Many of us certainly had narrow escapes. Those who were in the dressing rooms underneath the stage at the time had more difficulty in getting out. I was in the dressing room under the stage when the fire broke out, and when I found that I could not reach the stage I tried to get out through the door connecting the extreme north end of the C shaped corridor with the smoking room. I joined other members of the company in their rush for safety, but when we reached the door we found it closed. Some of the members crawled out through a coal hole, while others broke down the locked door, through which the others made their way out."

Lolla Quinlan, one of Bluebeard's eight dancers, saved the life of one of her companions, Violet Sidney, at the peril of her own. The two girls, with five others, were in a dressing room on the fifth floor when the alarm was raised. In their haste Miss Sidney caught her foot and sank to the floor with a cry of pain. She had sprained her ankle. The others, with the exception of Miss Quinlan, fled down the stairs.

Grasping her companion around the waist Miss Quinlan dragged her down the stairs to the stage and crossed the boards during a rain of fiery brands. These two were the last to leave the stage. Miss Quinlan's right arm and hand were painfully burned and her face was scorched. Miss Sidney's face was slightly burned. Both were taken to the Continental hotel.

Herbert Dillon, musical director, at the height of the panic broke through the stage door from the orchestra side, hastily cleared away obstructions with an ax, and assisted in the escape of about eighty chorus girls who occupied ten dressing rooms under the stage.

"We were getting ready for the honey and fan scene," said Miss Nina Wood, "talking and laughing, and not thinking of danger. We were so far back of the orchestra that we did not hear sounds of the panic for several moments. Then the tramping of feet came to our ears. We made our way through the smoking room and one of the narrow exits of the theater."

Miss Adele Rafter, a member of the company, was in her dressing room when the fire broke out.

"I did not wait an instant," said Miss Rafter. "I caught up a muff and boa and rushed down the stairs in my stage costume and was the first of the company to get out the back entrance. Some man kindly loaned me his overcoat and I hurried to my apartments at the Sherman house. Several of the girls followed, and we had a good crying spell together."

Miss Rafter's mother called at the hotel and spent the evening with her. Telegrams were sent to her father, who is rector of a church at Dunkirk, N. Y.

Edwin H. Price, manager of the "Mr. Bluebeard" company, was not in the building when the fire started. He said:

"I stepped out of the theater for a minute, and when I got back I saw the people rushing out and knew the stage was on fire. I helped some of the girls out of the rear entrance. With but one or two exceptions all left in stage costume.

"One young woman in the chorus, Miss McDonald, displayed unusual coolness. She remained in her dressing room and donned her entire street costume, and also carried out as much of her stage clothing as she could carry."

Quite a number of the chorus girls live in Chicago, and Mr. Price furnished cabs and sent them all to their homes.

Through some mistake it was reported that Miss Anabel Whitford, the fairy queen of the company, was dying at one of the hospitals. She was not even injured, having safely made her way out through the stage door.

Miss Nellie Reed, the principal of the flying ballet, which was in place for its appearance near the top part of the stage, was so badly burned by the flames before she was able to escape that she afterward died at the county hospital. The other members of the flying ballet were not injured.

Robert Evans, one of the principals of the Bluebeard company, was in his dressing room on the fourth floor. He dived through a mass of flame and landed three stairways below. He helped a number of chorus girls to escape through the lower basement. His hands and face are burned severely. He lost all his wardrobe and personal effects.

STORY OF HOW A SMALL BLAZE TERMINATED IN TERRIBLE LOSS

The fire started while the double octet was singing "In the Pale Moonlight." Eddie Foy, off the stage, was making up for his "elephant" specialty.

On the audience's left – the stage right – a line of fire flashed straight up. It was followed by a noise as of an explosion. According to nearly all accounts, however, there was no real explosion, the sound being that of the fuse of the "spot" light, the light which is turned on a pivot to follow and illuminate the progress of the star across the stage.

This light caused the fire. On this all reports of the stage folk agree. As to manner, accounts differ widely. R. M. Cummings, the boy in charge of the light, said that it was short circuited.

Stage hands, as they fled from the scene, however, were heard to question one another, "Who kicked over the light?" The light belonged to the "Bluebeard" company.

The beginning of the disaster was leisurely. The stage hands had been fighting the line of wavering flame along the muslin fly border for some seconds before the audience knew anything was the matter.

The fly border, made of muslin and saturated with paint, was tinder to the flames.

The stage hands grasped the long sticks used in their work. They forgot the hand grenades that are supposed to be on every stage.

"Hit it with the sticks!" was the cry. "Beat it out!" "Beat it out!"

The men struck savagely. A few yards of the border fell upon the stage and was stamped to charred fragments.

That sight was the first warning the audience had. For a second there was a hush. The singers halted in their lines; the musicians ceased to play.

Then a murmur of fear ran through the audience. There were cries from a few, followed by the breaking, rumbling sound of the first step toward the flight of panic.

At that moment a strange, grotesque figure appeared upon the stage. It wore tights, a loose upper garment, and the face was one-half made up. The man was Eddie Foy, chief comedian of the company, the clown, but the only man who kept his head.

Before he reached the center of the stage he had called out to a stage hand: "Take my boy, Bryan, there! Get him out! There by the stage way!"

The stage hand grabbed the little chap. Foy saw him dart with him to safety as he turned his head.

Freed of parental anxiety, he faced the audience.

"Keep quiet!" he shouted. "Quiet."

"Go out in order!" he shouted. "Don't get excited!"

Between exclamations he bent over toward the orchestra leader.

ORCHESTRA PLAYS IN FACE OF DEATH

"Start an overture!" he commanded. "Start anything. For God's sake play, play, play, and keep on playing."

The brave words were as bravely answered. Gillea raised his wand, and the musicians began to play. Better than any one in the theater they knew their peril. They could look slantingly up and see that the 300 sets of the "Bluebeard" scenery all were ablaze. Their faces were white, their hands trembled, but they played, and played.

Foy still stood there, alternately urging the frightened people to avoid a panic and spurring the orchestra on. One by one the musicians dropped fiddle, horn, and other instruments and stole away.

"CLOWN" PROVES A HERO

Finally the leader and Foy were left alone. Foy gave one glance upward and saw the scenery all aflame. Dropping brands fell around him, and then he fled – just in time to save his own life. The "clown" had proved himself a hero.

The curtain started to come down. It stopped, it swayed as from a heavy wind, and then it "buckled" near the center.

ALL HOPE LOST FOR GALLERY

From that moment no power short of omnipotent could have saved the occupants of the upper gallery.

The coolness of Foy, of the orchestra leader and of other players, who begged the audience to hold itself in check, however, probably saved many lives on the parquet floor. Tumultuous panic prevailed, but the maddest of it – save in the doomed gallery – was at the outskirts of the ground floor crowd.