The hill top was more rewarding. Cargraves told Art that they would go ahead with the attempt to try to beam a message back to earth . . . and then had to restrain him from running back to the ship to get started. Instead they searched for a place to install the “Dog House”.
The Dog House was a small pre-fab building, now resting in sections fitting snugly to the curving walls of the Galileo. It had been Ross’s idea and was one of the projects he and Art had worked on during the summer while Cargraves and Morrie were training. It was listed as a sheet-metal garage, with a curved roof, not unlike a Quonset hut, but it had the special virtue that each panel could be taken through the door of the Galileo.
It was not their notion simply to set it up on the face of the moon; such an arrangement would have been alternately too hot and then too cold. Instead it was to be the frame for a sort of tailor-made cave.
They found a place near the crest, between two pinnacles of rock with a fairly level floor between and of about the right size. The top of one of the crags was easily accessible and had a clear view of earth for line-of-sight, beamed transmission. There being no atmosphere, Art did not have to worry about horizon effects; the waves would go where he headed them. Having settled on the location, they returned for tools and supplies.
Cargraves and Ross did most of the building of the Dog House. It would not have been fair to Art to require him to help; he was already suffering agonies of indecision through a desire to spend all his time taking pictures and an equally strong desire to get his set assembled with which he hoped to raise earth. Morrie, at Cargraves’ request, stayed on light duty for a few days, cooking, working on his navigation, and refraining from the strain of space-suit work.
The low gravitational pull made light work of moving the building sections, other materials, and tools to the spot. Each could carry over five hundred pounds, earth-weight, of the total each trip, except on the steeper portions of the trail where sheer bulk and clumsiness required them to split the loads.
First they shoveled the sandy soil about in the space between the two rocks until the ground was level enough to receive the metal floor, then they assembled the little building in place. The work went fast; wrenches alone were needed for this and the metal seemed light as cardboard. When that was done, they installed the “door,” a steel drum, barrel-sized, with an air-tight gasketed head on each end.
Once the door was in place they proceeded to shovel many earth-tons of lunar soil down on top of the roof, until the space between the rock walls was filled, some three feet higher than the roof of the structure. When they were finished, nothing showed of the Dog House but the igloo-style door, sticking out between the rocky spires. The loose soil of Luna, itself a poor conductor of heat, and the vacuum spaces in it, would be their insulation.
But it was not yet air-tight. They installed portable, temporary lights, then dragged in sealed canisters and flat bales. From the canisters came sticky, tacky sheets of a rubbery plastic. This they hung like wallpaper, working as rapidly as possible in order to finish before the volatiles boiled out of the plastic. They covered ceiling, walls and floor, then from the bales they removed aluminum foil, shiny as mirrors, and slapped it on top of the plastic, all except the floor, which was covered with heavier duraluminum sheets.
It was ready for a pressure test. There were a few leaks to patch and they were ready to move in. The whole job had taken less than two ‘days’.
The Dog House was to be Art’s radio shack, but that was not all. It was to be also a storeroom for everything they could possibly spare from the ship, everything not necessary to the brief trip back. The cargo space would then be made available for specimens to take back to earth, even if the specimens were no more than country rock, lunar style.