The door was locked; he never left the house without locking it, and he never returned without approaching the house in alert silence, as though it might conceal an enemy. There was no sound of his footfalls as he mounted the steps; the next instant he was inside the house, his back against the closed door--listening. As usual, he heard nothing except the ticking of a clock somewhere in the house, and as usual he slipped his revolver back into the side pocket of his coat and fitted a key into the door on his left. The room was pitch dark; he lighted a candle and held it up, shading his eyes with a steady hand. There was a table, a printing-press, and one chair in the room; the table was littered with engraver's tools, copper plates, bottles of acid, packets of fibre paper, and photographic paraphernalia. A camera, a reading-lamp, and a dark-lantern stood on a shelf beside a nickel-plated clock which ticked sharply. The two windows in the room had been sealed up with planks, over which sheet iron was nailed. The door also had been reinforced with sheet-iron. From a peg above it a repeating-rifle hung festooned with two cartridge belts. When he had filled his lamp from a can of kerosene he lighted it and sat down to the task before him with even less interest than usual--and his interest had been waning for weeks. For the excitement that makes crime interesting had subsided and the novelty was gone. There was no longer anything in his crime that appealed to his intellect. The problem of successfully accomplishing crime was no longer a problem to him; he had solved it. The twelve months' work on the plate before him demonstrated this; the plate was perfect; the counterfeit an absolute fac-simile. The government stood to lose whatever he chose to take from it. As an artist in engraving and as an intelligent man, Helm was, or had been, proud of his work. But for that very reason, because he was an artist, he had tired of his masterpiece, and was already fingering a new plate, vaguely meditating better and more ambitious work. Why not? Why should he not employ his splendid skill and superb accuracy in something original? That is where the artist and the artisan part company--the artisan is always content to copy; the artist, once master of his tools, creates. In Helm the artist was now in the ascendant; he dreamed of engraving living things direct from nature--the depths of forests shot with sunshine, scrubby uplands against a sky crowded with clouds, and perhaps cattle nosing for herbage among the rank fern and tangled briers of a scanty pasture--perhaps even the shy, wild country children, bareheaded and naked of knee and shoulder, half-tamed, staring from the road-side brambles. It is, of course, possible that Helm was a natural-born criminal, yet his motive for trying his skill at counterfeiting was revenge and not personal gain.