The Pinkerton agents attempted to disembark, and shots were fired. Conflicting testimony exists as to which side fired the first shot. John T. McCurry, a boatman on the steamboat Little Bill (which had been hired by the Pinkerton Detective Agency to ferry its agents to the steel mill) and one of the men wounded by the strikers, said: "The armed Pinkerton men commenced to climb up the banks. Then the workmen opened fire on the detectives. The men shot first, and not until three of the Pinkerton men had fallen did they respond to the fire. I am willing to take an oath that the workmen fired first, and that the Pinkerton men did not shoot until some of their number had been wounded."  But according to The New York Times , the Pinkertons shot first.  The newspaper reported that the Pinkertons opened fire and wounded William Foy, a worker.  Regardless of which side opened fire first, the first two individuals wounded were Frederick Heinde, captain of the Pinkertons,  and Foy. The Pinkerton agents aboard the barges then fired into the crowd, killing two and wounding 11. The crowd responded in kind, killing two and wounding 12. The firefight continued for about 10 minutes. 
When the Snow Child dies, she leaves behind only a rose, a feather, and a bloodstain; she amounts to a small collection of objects. It is obvious from the Snow Child's 'remains' that she was never real to begin with; she was only a figment of the Count's libido. Bacchilega explains why the prick of the rose destroys the Snow Child. The Count created the Snow Child as a sexual object, but when she appears, she is still a girl. When the rose pricks her and she bleeds, symbolizing menstruation, the Snow Child "comes of age" as a being capable of sexual intercourse. Once she has fulfilled her purpose of becoming a sexual object, she can die. Because she was not expected to receive pleasure in having sex or otherwise being alive, it is sufficient for him to rape her corpse. OzÃ¼m, referencing Elaine Jordan, explains that the Snow Child's death is not "a killing of women," but rather a "killing of masculine representations." The Snow child is not weak because she is a woman; she is weak because she fits the un-maintainable masculine idea of female perfection, "good, loyal, and submissive" Just as in " The Erl-King " and "The Bloody Chamber," in "The Snow Child," becoming a reflection of male idealization is a death sentence for the heroine.