This left Muriel Gay unruffled and unhurt, so that she could weep and accept the love of Lee Milligan in the artistic ending of which Robert Grant Burns was so fond.
Jean had never before considered it necessary to warn Gil and implore him not to be nervous, and Gil took her solicitude as an encouraging sign and was visibly cheered thereby.

He knew little of guns and fine marksmanship, and he did not know that it is extremely difficult to shoot a revolver accurately and instantaneously; whereas Jean knew very well that Gil Huntley might be thrown off ledges every day in the week without taking the risk he would take that day.
The scene was to close a full reel of desperate attempts upon the part of Gil Huntley to win Muriel; such desperate attempts, indeed, that Muriel Gay spent most of the time sitting at ease in the shade, talking with Lee Milligan, who was two thirds in love with her and had half his love returned, while Jean played her part for her.

Sometimes Muriel would be called upon to assume the exact pose which Jean had assumed in a previous scene, for "close-up" that would reveal to audiences Muriel's well-known prettiness and help to carry along the deception.
Each morning the two stood side by side and were carefully inspected by Robert Grant Burns, to make sure that hair and costumes were exactly alike in the smallest detail.

This also helped to carry on the deception--to those who were not aware of Muriel's limitations.

Their faces were not at all alike; and that is why Jean's face must never be seen in a picture.
This shooting scene was a fitting climax to a long and desperate chase over a difficult trail; so difficult that Pard stumbled and fell,--supposedly with a broken leg,--and Jean must run on and on afoot, and climb over rocks and spring across dangerous crevices.