Spacelog Apollo 13

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.

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 —

Can't do it, we're wide open.

Are you?

I think we're wide open —

Yes. We're wide open, Vance.

Okay. Does that help any, Vance?

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?

Yes. We went fixed on the —

Okay. You're on candid camera.

We did notice one thing, Vance. You know that new fad with long hair? It won't work too well up here in space.

What was that one again?

I say, you know the new—the new fad with long hair?

Right.

It doesn't work too well up in space, you can't comb your hair up here.

Well, I guess you have to give up something.

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.

Well, we've been debating that. We thought we'd take care of our beards tomorrow and make that one of our daily routines.

I take it that was a subtle hint, Vance.

No, no. We're not commenting on your appearance, Fred. I mean nothing derogatory, understand.

And, Vance, thought we'd get a picture of Jack just so that all the girls know that he's still here.

(Laughter)

…

Yes, we—we appreciate that. There he is. Big Jack.

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.

…

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.

Yes. Who won the Masters, Vance?

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.

Oh. Sounds good.

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?

That's right, Vance. Be going down there shortly.

Okay. The TV now is all but black. Looks like it must be pointing into a shadow.

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.

Roger.

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.

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.

Okay. That brings the Moon in. We can see the terminator at the top of the melon-shaped disk.

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.

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.

That's affirm.

Okay, 13; Houston. Just as an item of interest, advise your speed with respect to the Earth is now 4667 feet per second.

Okay. Thanks, Vance.

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.

Roger. Understand. We're looking at the wastebasket.

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.

Roger. Understand, and we can see somebody's foot, as well.

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.

Roger. The sleep restraint of the hammock is coming into view underneath the couch. It's the white object.

You perhaps can see the zipper of the hammock right now. It's the black lines in that white object.

Right. We can see it.

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.

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.

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.

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?

Okay. That's coming in real clear, Jim. We see Fred in the sleep restaint—restraint.

As a matter of fact, Vance, I find my—I find Fred down there all the time.

Yes. I can see he appreciates that. Looks fairly comfortable.

Looks like there is a lot of room down there, considering all the boxes on the floor and underneath the couch.

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.

Okay, Vance. If there is no more that you would like to see right now, we'll terminate our little TV for you today.

Okay. Thank you very much, Jim. Appreciated seeing inside the spacecraft and getting a look at the Moon that you're rapidly approaching.

Apollo 13, Houston.

Go ahead, Houston.

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.

Okay. Stand by 1 minute.

Okay.

Okay, Vance. Go ahead.

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.

And that's all.

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.

Apollo 13, Houston.

Go ahead, Houston.

Jim, for PTC tonight, request that you disable quads C and D. That's the opposite of last night. Over.

Okay. For PTC tonight, disable quads C and D.

Roger. And advise in approximately an hour, we'll have some read-ups whenever you're ready to take them regarding solo book changes.

Okay. We'll be standing by for it.

Houston, 13.

Go ahead, 13.

Have you all got a chance to look at the data on the SPS yet?

Stand by 1, Fred.

Apollo 13, Houston.

Go ahead.

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.

Okay. Thank you.

Apollo 13, Houston.