Spacelog Apollo 13

Okay, Vance. First we are going to give you a shot of the sleep station.

Okay. The camera's bounced around a little, but we can see the green computer come in every once in a while.

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.

Okay, Vance, let us know when you're through with the DSKY so we can load NOUN 88?

Roger. We'll let you know, Jack.

Okay. You're go for the pictures.

Okay, Vance. We tried our AUTO OPTICS and couldn't pick it up there. We're pointing pretty much right into the Sun, and things are pretty well washed out. And I've gone to MANUAL OPTICS and I'm trying to get 0.8, 12.5 on the shaft and trunnion, and I still can't pick it up. So—it's very light in the sextant, so I kind of think maybe we're too near the Sun to see it.

That's right, Vance. The sextant is all—it's—it's all milky and it—any comet that could be seen through there is just going to be missed in the background.

Okay, we copy that. We got some discussion. Stand by.

Okay, Vance, it isn't—we're not looking into the Sun—what we are getting is a large reflection from the Sun behind us off the LM; and it is—it is coming on that quad 1 there, and that quad is reflecting back into the sextant.

Okay, Jack. Understand. Just a question: if you look through the telescope, can you see the comet at all? Over.

No, I can't, Vance. It's—it's still too light.

Say, Vance?

Roger. Go ahead.

Are the flowers blooming yet?

Gee, I sure haven't seen any.

Okay.

Hey, we've—we've got quite a discussion down here on your trying to observe the comet, and this reflection is not unexpected. And give us another minute, and we'll be back with you on something on that.

Okay. I doubt very seriously though, if we take any photographs with high-speed black and white with the light coming into the sextant that you're going to get anything out of it.