With the curtain about to go up, Schultz stands backstage where he accidentally sees both Suzanne and Hilda when the blanket falls on their costume changing area - but he also appears in the back of the house (auditorium) where he can see the play, the exact opposite location from where he appeared before, with no indication as to how he almost instantly moved from one distant area to another.
Update: Note that when Schultz sees Suzanne and Hilda, the women are in the process of transferring the wedding dress (and veil) from Hilda to Suzanne. Neither of them have the dress on. The back of the auditorium (with Schultz) is not visible until after Boucher walks on stage. Carter walks out, then Newkirk with Suzanne. The time it would take for Suzanne to finish getting dressed in the bridal gown before she walks out would be plenty of time for Schultz to walk to his place at the back of the auditorium. There is also no indication that the cut from backstage (when Schultz sees the women) to the auditorium (where Schultz is in the back) is an instantaneous cut. Finally, in the denouement, Klink refers to it being a 'show', and that the performance declined in quality after his little sketch. There is no indication that the wedding was the only thing in the show, so it is entirely possible that there were other elements of the show that occurred prior to the wedding.
Update: Note that when Schultz sees Suzanne and Hilda, the women are in the process of transferring the wedding dress (and veil) from Hilda to Suzanne. Neither of them have the dress on. The back of the auditorium (with Schultz) is not visible until after Boucher walks on stage. Carter walks out, then Newkirk with Suzanne. The time it would take for Suzanne to finish getting dressed in the bridal gown before she walks out would be plenty of time for Schultz to walk to his place at the back of the auditorium. There is also no indication that the cut from backstage (when Schultz sees the women) to the auditorium (where Schultz is in the back) is an instantaneous cut. Finally, in the denouement, Klink refers to it being a 'show', and that the performance declined in quality after his little sketch. There is no indication that the wedding was the only thing in the show, so it is entirely possible that there were other elements of the show that occurred prior to the wedding.
As Klink is conducting the ceremony, when his back is to the camera, the couple are rather far apart, so that they would have to reach a little to hold hands. When Klink is facing the camera, the couple are much closer, with shoulders near touching.
Hogan says Klink can marry the couple like a ship's captain, but ship's captains can not marry a couple solely because they are a ship's captain.
At the end of the wedding ceremony, we hear the strains of the Mendelssohn recessional, part of the incidental music to the production of A MIDSUMMER NIGHT'S DREAM which has since become popular. Mendelssohn's music, however, had been banned in the 3rd Reich in toto since 1937 and in all occupied countries. The reason for the ban was primarily because his grandfather was the noted philosopher Moses Mendelssohn, considered the father of Reform Judaism. Mendelssohn had also been the target of Richard Wagner's infamous 1850 article "Judaism in Music" published under the pseudonym of Mr Freethought (Freigedank) but expanded considerably in 1868 under Wagner's own name.
After the introduction and mini-credits, LeBeau walks into Hogan's office to explain that he could not get in to see the pilot. Immediately after LeBeau says, "I tried.", a light purple streak flashes from top to bottom of the picture (verified in two different sources). There may have been a problem when the master was developed that caused an off-color streak in the film.
In the exterior shot of the Folies Pigalle in Paris, before Lebeau tries to find Suzanne, the theatre sign is advertising a performance by Vince Taylor. Taylor was born in 1939, which means he'd only be a toddler at the time this episode is set, and only became quite popular in Paris by the mid-sixties.
At the beginning, as Klink is yelling at Shultz in front of his office, the shadow of the boom mic is clearly visible in the top left hand corner.
Update: After Schultz runs over to Klink (on the porch), he salutes. During the salute, there is a cut to a closer view of Klink, Schultz, and a guard, shown from behind Schultz. The shadow appears on the corner of the building above the guard's head. There are two vertical boards (the corner molding pieces) that run up the corner of the building. The right-hand board also supports a horizontal crosspiece that supports the porch roof. The shadow appears mostly on the left-hand vertical board. There are two sequences from this angle, which have the mic shadow. The first is where Schultz reports all present and accounted for. Then there are five close-up sequences (three of Schultz, two of Klink), then the second sequence from behind Schultz, where the shadow is visible again.
Just after LeBeau goes down the tunnel under the bunk, Kinchloe slaps the side of the lower bunk twice to close the tunnel entrance since Schultz just walked in. The tunnel closing actuator is normally in the side of the upper bunk.