| "Henry Please Come Home" | |
|---|---|
| M*A*S*H episode | |
| Episode no. | Season 1 Episode 9 |
| Directed by | William Wiard |
| Written by | Laurence Marks |
| Production code | J302 |
| Original air date | November 19, 1972 |
| Guest appearances | |
| Odessa Cleveland Patrick Adiarte ContentsG. Wood | |
"Henry Please Come Home" was the ninth episode of the first season of the TV series M*A*S*H . It originally aired on November 19, 1972. It was written by Laurence Marks and was directed by William Wiard.
Guest cast is Odessa Cleveland as Ginger, Patrick Adiarte as Ho-Jon, Timothy Brown as Spearchucker Jones, John Orchard as Capt. 'Ugly John' Black, Bob Gooden as Boone, Bill Svanoe as Aide, Noel Tey as Mama San, Jean Fleet as Nurse, Kasuko Sakuro as Cho-Cho, and G. Wood as Brigadier Gen. Hamilton Hammond. Though the character of Gen. Hammond would continue to be mentioned in a few subsequent episodes, this episode features Hammond's final appearance on the show.
Henry receives a citation for the camp achieving the best efficiency rating of any M*A*S*H unit, and then Brigadier General Hammond reassigns him to Tokyo. Frank then changes the camp to be more military, and he confiscates Hawkeye's and Trapper's still. They use forged passes to go to Tokyo to convince Henry to come back and end up pretending Radar is sick. Their ruse is revealed but Henry decides to return anyway. [1] [2] [3] [4] [5]
M*A*S*H is an American war comedy drama television series that aired on CBS from September 17, 1972, to February 28, 1983. It was developed by Larry Gelbart as the first original spin-off series adapted from the 1970 feature film M*A*S*H, which, in turn, was based on Richard Hooker's 1968 novel MASH: A Novel About Three Army Doctors. The series, which was produced with 20th Century Fox Television for CBS, follows a team of doctors and support staff stationed at the "4077th Mobile Army Surgical Hospital" in Uijeongbu, South Korea, during the Korean War (1950–53).
The pilot episode of M*A*S*H, the first episode of the first season was broadcast on September 17, 1972, although the initial script was first written in November 1971. The episode was written by Larry Gelbart and directed by Gene Reynolds, who received the Directors Guild of America Award for it. It was also nominated for two Emmys for its direction and writing.
"Chief Surgeon Who?" is the fourth episode of the television series M*A*S*H.
"The Moose" is an episode of the television series M*A*S*H. It was the fifth episode broadcast and aired on October 15, 1972, and repeated May 27, 1973. It was written by Laurence Marks and directed by Hy Averback.
"Yankee Doodle Doctor" is an episode of the television series M*A*S*H. It was the sixth episode broadcast and aired on October 22, 1972, and it was rerun April 8, 1973. It was written by Laurence Marks and directed by Lee Philips.
"Bananas, Crackers and Nuts" is an episode from M*A*S*H. It was the seventh episode broadcast and aired on November 5, 1972 and repeated April 22, 1973. It was written by Burt Styler and directed by Bruce Bilson.
"Cowboy" was the eighth episode of the M*A*S*H television series. Originally shown on November 12, 1972 and repeated May 6, 1973, it was written by Bob Klane and directed by Don Weis. It is the only first-season episode listed in TV Guide as a "classic episode".
"Edwina" was the 13th episode of the first season of the TV series M*A*S*H. It originally aired on December 24, 1972. It was written by Hal Dresner, directed by James Sheldon and guest starred Arlene Golonka in the title role.
"The Ringbanger" was the 16th episode of the first season of the TV series M*A*S*H. It originally aired on January 21, 1973.
"Sometimes You Hear the Bullet" is the 17th episode of the first season of the TV series M*A*S*H, originally airing on January 28, 1973. This is the first episode in which the medical staff failed to save a wounded soldier, and one of the first episodes of the series showing a member of the hospital staff truly affected by death.
"Dear Dad...Again" is the 18th episode of the first season of the American television series M*A*S*H. It originally aired on February 4, 1973.
"The Longjohn Flap" is the 19th episode of the first season of the TV series M*A*S*H. It originally aired on February 18, 1973, and was the first episode of M*A*S*H to be written by series star Alan Alda.
"Sticky Wicket" is the 21st episode of the first season of the TV series M*A*S*H. written by Richard Baer with the teleplay written by Laurence Marks and Larry Gelbart, it originally aired on CBS-TV on March 4, 1973.
"Major Fred C. Dobbs" is the 22nd episode of the first season of the TV series M*A*S*H. It originally aired on March 11, 1973.
"Showtime" was the 24th episode of the first season of the American television series M*A*S*H. It originally aired on March 25, 1973.
"Abyssinia, Henry" is the 72nd episode of the M*A*S*H television series and the final episode of the series' third season. It was written by Everett Greenbaum and Jim Fritzell, and it first aired on March 18, 1975. The episode is notable for its shocking ending, in which the unit's amiable commanding officer Lieutenant Colonel Henry Blake receives an honorable discharge and leaves for home but, in the final scene, is reported killed by enemy fire. This ending prompted more than 1,000 letters to series producers Gene Reynolds and Larry Gelbart, and drew fire from both CBS and 20th Century Fox.
"To Market, to Market" is the second episode of M*A*S*H. It was first aired on September 24, 1972 and repeated on April 29, 1973. Like many other M*A*S*H episodes, this one parodies army bureaucracy.
"5 O'Clock Charlie" was the 26th episode of the M*A*S*H television series, and second of season two. The episode aired on September 22, 1973.
"Requiem for a Lightweight" is the third episode of the television series M*A*S*H. It was first aired on October 1, 1972 and was repeated on December 31, 1972, the first episode of M*A*S*H to do so. In Watching M*A*S*H, Watching America, a sociological examination of M*A*S*H as an illustration of shifting American values in the 1970s and early 1980s, James H. Wittebols cites this episode as an example of the sexual humor which was common in early M*A*S*H episodes, but downplayed later in the program's history.
