In the revealing light of a very fine moon-effect, which was a triumph of Pete's skill, she slashed a rope that held a high-strung "mustang" (so called in the scenario), and had leaped upon his bare back and gone hurtling out of that scene and into another, where she was riding furiously over dangerously rough ground, the whole outlaw band in pursuit and silhouetted against the skyline and the moon (which was another photographic triumph of Pete Lowry).
Gil Huntley had also done many things that were risky.

Jean had shot at him with real bullets so many times that her nervousness on this particular day was rather unaccountable to him.

Jean had lassoed him and dragged him behind Pard through brush.

She had pulled him from a quicksand bed,--made of cement that showed a strong tendency to "set" about his form before she could rescue him,--and she had fought with him on the edge of a cliff and had thrown him over; and his director, anxious for the "punch" that was his fetish, had insisted on a panorama of the fall, so that there was no chance for Gil to save himself the bruises he got.

Gil Huntley's part it was always to die a violent death, or to be captured spectacularly, because he was the villain whose horrible example must bear a moral to youthful brains.
Since Jean had become one of the company, he nearly always died at her hands or was captured by her.