.,/ . gue standing in the hatch: "Jim, you f ' '''r«B look absolutely fantastic against that
. . . i JjSB Moon back there. That is really a jy. iH " most unbelievable, remarkable thing." Worden had no camera with him to record this unique interplanetary view, but after they returned to Earth, artist Pierre Mion carefully reproduced the scene in a painting.
When Worden had finished off by making an examination of the SIM bay on Houston's behalf, he and Irwin got back into the cabin, taking the camera pole with them and closing the hatch. As they waited for Endeavour's cabin to repressurise, Scott mentioned about how quickly Worden had gone about the EVA. ''You should have stayed longer.'' Perhaps Scott was aware of how much time he had spent outside on the Moon's surface, and here was his colleague's chance to feel the exhilaration of EVA, yet he spent less than half an hour retrieving cassettes and inspecting equipment. But Worden, like so many crewmembers,
Pierre Mion's recreation of Al Worden's view towards Jim Irwin and the Moon.
brought an entirely businesslike attitude to his work. On one level, it would have been nice to have got the job done then spend a little time just enjoying the view and the experience. On the other hand, he was in a situation that had many possibilities for danger, where a technical problem could quickly develop into a life-threatening scenario.
The cabin was repressurised from a rapid repressurisation system consisting of three small oxygen tanks that had been topped up prior to the EVA and were now emptied into the spacecraft. Also, the oxygen inside the OPS tank added to the pressure. The next time the door was opened, the command module would be sitting on the waters of the Pacific Ocean.
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