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Fred Haise (LMP)
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That's only half of it. We have most of it hidden away. It's been pretty interesting doing all the camera work here to get a little extra training running the TV here, hopefully for when we get on the ground at Fra Mauro. The monitor does make it pretty easy though.
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Vance Brand (CAPCOM)
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Right. That's a real advantage in the cockpit. You're just a little bit dark. It looks like it might help to have the f-stop run down about one increment. See how it comes out —
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Vance Brand (CAPCOM)
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Okay. It's reasonably good. We can make out Fred fairly well. Looks like he's in a shadow. Hey, that helps. You just turned up the lights, huh?
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Jim Lovell (CDR)
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We did notice one thing, Vance. You know that new fad with long hair? It won't work too well up here in space.
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Vance Brand (CAPCOM)
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Well, at least it—it helps to try. We can see you trying to comb your hair there, Jim. It looks like your—your beards haven't come along to the point where you've had to use the razor though.
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Jim Lovell (CDR)
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Well, we've been debating that. We thought we'd take care of our beards tomorrow and make that one of our daily routines.
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Vance Brand (CAPCOM)
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No, no. We're not commenting on your appearance, Fred. I mean nothing derogatory, understand.
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Jim Lovell (CDR)
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And, Vance, thought we'd get a picture of Jack just so that all the girls know that he's still here.
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Vance Brand (CAPCOM)
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Jack, you're in the shadow right now; we have a little bit of interference from your window, which is very bright, so we can't—I think you're smiling, but it's a little hard to tell.
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Vance Brand (CAPCOM)
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Hey, there we go. Incidentally, we've been getting all kinds of bits of information to pass up to you. We've had baseball scores coming in, basketball. Somebody said there's 220 days, shopping days left until Christmas.
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Vance Brand (CAPCOM)
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It was a tie in the Masters and stand by. It was a tie between Littler and Casper after 72 holes, and there is going to be a playoff Monday, we understand.
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Vance Brand (CAPCOM)
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One thing the world might be interested in knowing is what you do after the burn in the way of configuring switches back. We—We heard you go through the checklist. But, I guess right now, basically, you probably have all the switches back in position and you're in the mode to continue on with—Okay. What does the flight plans say? You're going to be doing cislunar navigation. So, Jack you're going to be down in the LEB. Is that correct?
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Vance Brand (CAPCOM)
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Okay. The TV now is all but black. Looks like it must be pointing into a shadow.
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Jack Swigert (CMP)
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What he's doing, he's trying to give you one more shot of the Moon, and right now I'm setting to maneuver pad and the optics calibration attitude.
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Fred Haise (LMP)
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And what I wanted to point out, I don't know if it's apparent, but … to show the advantage of doing all the dumps just before the burn, we're looking again at the same scene over quad 1 at the Moon. And now you don't see all the sparkly frozen particles outside there any more. We've sort of run off and left them.
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Vance Brand (CAPCOM)
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Roger. We—We don't see anything out there anymore in the way of particles leaving the spacecraft. We'd suggest, maybe you zoom the Moon in a little bit again so we can see the shape of it better.
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Vance Brand (CAPCOM)
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Okay. That brings the Moon in. We can see the terminator at the top of the melon-shaped disk.
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Fred Haise (LMP)
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Okay. Now you can see a few of the spark—sparkling particles going across the screen. Those are being emitted from the thrusters. Jack's maneuvering the spacecraft now.
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Vance Brand (CAPCOM)
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Okay. We can see those very poorly. Well, actually, they are coming in better now. It looks like little specks going from the upper left part of the screen across to the right, and understand those are from the thrusters.
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Vance Brand (CAPCOM)
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Okay, 13; Houston. Just as an item of interest, advise your speed with respect to the Earth is now 4667 feet per second.
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Vance Brand (CAPCOM)
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Okay, Apollo 13; Houston. The Moon has been in and out of the—the—our screen here. Right now it's off at the bottom side, but we can still see the particles coming off of the spacecraft.
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Jack Swigert (CMP)
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Okay. I am going to have to pull it out the window now, Vance. The Sun's coming up on the right side.
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Vance Brand (CAPCOM)
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That's right, Jim. It would be good to see what you are doing down in the LEB or the far corner of the spacecraft where the optics are. Might be interesting to describe what you will do in the next few minutes in the way of sighting.
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Vance Brand (CAPCOM)
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Okay. The camera's bounced around a little, but we can see the green computer come in every once in a while.
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Jim Lovell (CDR)
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While Jack is getting the sleep station rolled up, I thought I would show you one interesting corner. We've got a temporary stowage bag here and that's where all our wastepaper and all that goes while we're—after every meal. It's in the right-hand corner down by our dump system.
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Jim Lovell (CDR)
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And the age-old question that is always asked us is how do we get rid of liquid waste and that line that you see, I think you can see it now, it goes right outside where we open up the overboard drain dump, and all of our waste products, liquid waste products, go out through that line and get dumped overboard.
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Jim Lovell (CDR)
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Okay. Fred is now going down there, and he is going to try to get underneath the sleep station on his side where we have a sleep restraint. And the whole object of that is to … to position the body between the—between the bottom of the spacecraft and—so it doesn't float up between that and the bottom of the couch.
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Vance Brand (CAPCOM)
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Roger. The sleep restraint of the hammock is coming into view underneath the couch. It's the white object.
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Jim Lovell (CDR)
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You perhaps can see the zipper of the hammock right now. It's the black lines in that white object.
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Jim Lovell (CDR)
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These hammocks, by the way, are very comfortable. When we first heard about them in the design of Apollo, we thought they weren't necessary, but they turned out to be very nice devices to sleep in.
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Jim Lovell (CDR)
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I'm trying now to get down there with Fred to show you how it works. I keep floating up, though, but maybe we can get a little shot here.
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Vance Brand (CAPCOM)
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Okay. We have somebody upside down in the photograph now. Realizing, of course, in—in space there is no really rightside up or upside down. It still looks that way to us.
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Jim Lovell (CDR)
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Okay. That's—That's Fred now. I'm trying to put him rightside up, for you folks back there in the sleep station. Fred, would you move your hands there so the folks back home can see you?
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Vance Brand (CAPCOM)
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Okay. That's coming in real clear, Jim. We see Fred in the sleep restaint—restraint.
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Vance Brand (CAPCOM)
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Looks like there is a lot of room down there, considering all the boxes on the floor and underneath the couch.
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Jim Lovell (CDR)
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It's surprising. There still is quite a bit of room down there even with the Hycon camera box down. And now, I'm going to bring the camera back up.
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Jim Lovell (CDR)
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Okay, Vance. If there is no more that you would like to see right now, we'll terminate our little TV for you today.
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Vance Brand (CAPCOM)
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Okay. Thank you very much, Jim. Appreciated seeing inside the spacecraft and getting a look at the Moon that you're rapidly approaching.
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Vance Brand (CAPCOM)
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Okay. At your convenience we have an item to give you which will have to be copied. It's information on how to photograph Comet Bennett at time 32 hours GET. Over.
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Vance Brand (CAPCOM)
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Okay. Time 32 hours 00 minutes GET. Instructions at completion of P23, maneuver to following attitude: roll 101.0, pitch 090.0, yaw 000.0. High gain antenna angles will be: pitch minus 23, yaw 93. Use normal PTC procedures to dampen rates. After vehicle's stable, and before spinup, take photographs of Comet Bennett. Use the DAC on the sextant with magazine G. That is, very high-speed black-and-white film, right? That's the dim-light film. Take three photos, one each at 5-, 20-, and 60-seconds' time exposure. Use AUTO optics. NOUN 88 values are R1 plus 34717, R2 minus 08028; R3 plus 35075. Take three photos one each at 5-, 20-, and 60-second time exposure using manual optics. Shaft will be 000.8 degrees, trunnion 12.5 degrees. Comment: Strip off about 50 frames; that is, 2 seconds of—at 24 feet per second before the first frame and after the last frame of the photos. That is, 2 second—2 seconds at 24 frames per second—before the first frame and after the last frame of photos.
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Fred Haise (LMP)
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Okay. The time is—The event will be at 32:00; and we're to maneuver to the following attitude; roll 101.0, pitch 090.0, yaw all zips. High gain angles will be pitch minus 23, yaw 93. And we're to use normal PTC procedures to damp the rates. And after damping the rates and before spinup, we're to put the DAC on the sextant with the magazine G, very high-speed black and white film. Then, we're to take three photos, one each at 5-, 20-, and 60-seconds' time exposure using audio—AUTO optics. Our NOUN 88 values R1 plus 34717, R2 minus 08028, R3 plus 35075. Thence, three more photos, one each at 5-, 20-, 60-seconds' time exposure using manual optics. Shaft 0.8 degrees, trunnion 12.5 degrees. And we're to take 2—second bursts at 24 frames per second, before and after these pictures.
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Vance Brand (CAPCOM)
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Jim, for PTC tonight, request that you disable quads C and D. That's the opposite of last night. Over.
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Vance Brand (CAPCOM)
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Roger. And advise in approximately an hour, we'll have some read-ups whenever you're ready to take them regarding solo book changes.
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Vance Brand (CAPCOM)
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Fred, it looks good, but they haven't had a chance to evaluate everything. They'll probably be finished with looking at strip charts in about 15 minutes, and after that we'll try to get back with you.
Spoken on April 13, 1970, 2:01 a.m. UTC (54 years, 6 months ago). Link to this transcript range is: Tweet
