Don knew he ought to kill his B Plus before any more damage was done, but there was something about the total blackness of that hole in the picture on the monitor tube which fascinated him. It simply wasn’t possible to get such a perfect black, even if you dug for it. He began cautiously to turn the brightness control. Slowly the blackness became lighter. All of a sudden an image appeared in the hole! Don worked the contrast control. The picture came swiftly into focus. It was _not_ the image of the space suit as it should have been. Through the hole shaped like the space suit Don was looking into the interior of a spaceship! At once Don’s mind supplied an answer. Something had happened to his hookup when that metal spiral had fallen into the matting amplifier and fused certain connections! Now he was actually able to pick up images from an extra-terrestrial spaceship! He must be excused, however. He had worked a long time on that TV space opera. And it wasn’t long before he realized that what he was actually seeing in the hole was merely the spaceship set built for “The Planeteers.” He was about to kill his power when it struck him like a 1000-volt camera shock. How could he _see_ the spaceship set? It was _behind_ the big black backdrop! He studied the image on the monitor intently. That was it, all right. No mistake about it. He was looking right through the heavy, black duvetyne backdrop with Camera II. Or--He suddenly had a thought. Don ran out into the studio. Bill usually kept a piece of chalk for floor markings near his cans. There! He went over Camera I. Carefully he drew on the floor a straight line at a 90-degree angle to the lens from the camera over to the black drop. Then he went to Camera II and did the same. The lines did not converge in front of the drop. He ran behind the black, lifted up the bottom to orientate himself and continued the lines on the other side. They crossed each other right smack in the middle of the spaceship set. There could only be one answer. But Don had to be sure. He went back to Camera II and carefully swung it a little to the right. Now the two imaginary lines would cross about 100 feet further out. He ran back to the control room. And there--in the spacesuit-shaped hole in the monitor image he watched the traffic on the street outside the studio roar silently by! He was seeing through the backdrop, through the scenery stored at the rear of the studio, through the wall itself, and into the street. Wherever the lines from the two cameras would cross--_he saw!_ He estimated the focal depth of the picture to be about ten feet on either side of the actual crossing point of the vitally important imaginary lines.