The Major and the Minor 1942

As the repercussions of Albert Osborne’s (Robert Benchley) unwelcome advances continue to resonate with her, Susan Applegate (Ginger Rogers) makes the bold decision to abandon her life as a Revigorous System scalp massager in New York City, opting instead to return to her humble beginnings in Stevenson, Iowa. The financial constraints she faces at the train station prompt her to adopt an ingenious disguise - that of Su-Su, a precocious 12-year-old girl. When two suspicious conductors catch her indulging in a forbidden cigarette, Su-Su takes refuge in the compartment of Major Philip Kirby (Ray Milland), who, under the impression that she is a frightened youngster, allows her to stay until they reach his destination.

The train’s unexpected detour due to flooding brings an unexpected visitor: Philip’s fiancée, Pamela Hill (Rita Johnson) and her father, commanding officer at the military academy where he teaches. Pamela boards the train and stumbles upon Su-Su slumbering in the lower berth, prompting her to leap to a hasty conclusion - that Philip is being unfaithful. In a bid to expose his supposed transgression, she reports her findings to the assembled authorities, only for Philip to reveal Su-Su’s true identity with a wry smile.

Pamela’s teenage sister Lucy (Diana Lynn), an aspiring biologist, proves to be one of the few individuals who sees through Susan’s disguise. In exchange for keeping her secret, Lucy convinces Susan to help her sabotage Pamela’s efforts to keep Philip at the academy instead of being reassigned to active duty. Disguising herself as Pamela, Susan makes a clandestine phone call to one of Pamela’s Washington, D.C. connections, successfully arranging for Philip’s status to be altered.

Susan quickly becomes the toast of the cadets, many of whom have mastered an innovative technique for stealing kisses based on the fall of the Maginot Line. As Philip tries to caution her against encouraging this behavior, he finds himself getting lost in a metaphor of lightbulbs and moths. At one point, he gazes at her with his imperfect eye, predicting that she will be a “knockout” someday.

As the academy’s annual dance approaches, Philip thanks Pamela for her efforts, revealing that he will soon report for active duty. However, Pamela remains tight-lipped about her role in facilitating this outcome and refuses to marry him at such short notice. Meanwhile, Cadet Clifford Osborne introduces Susan to his parents - a reunion that ultimately reveals her true identity to Pamela.

In the end, it takes Albert senior some time to recall their previous encounter, but he eventually recognizes Susan, exposing her dual identities as Su-Su and Susan Applegate, leaving the fate of Philip’s military career and Susan’s future hanging precariously in the balance.

As Susan hastily departs Lucy’s quarters to prepare for her clandestine meeting with Philip, Pamela intercepts him, spinning a web of deceit that only an unsuspecting suitor would buy into. With Susan nowhere to be found, Pamela threatens to unravel Philip’s carefully crafted reputation unless she agrees to vanish into thin air. In a moment of desperation, Susan extracts a promise from Lucy to keep her true identity hidden, ensuring that the truth remains locked away.

Back at home, Susan’s thoughts are consumed by Philip as she becomes entranced by the fluttering moths dancing around the porch light, much to the exasperation of her betrothed, Will Duffy (Richard Fiske), and the quiet bewilderment of her mother (Lela E. Rogers). As Philip calls from the train station, Susan poses as Su-Su’s mother, claiming that Su-Su is busy with a school play – an alibi that barely holds water. He reveals his plans to report for active duty in San Diego and shares a curious gift from Lucy: a frog, which serves as a symbol of innocence.

Upon Philip’s arrival at the Applegate residence, he is struck by the uncanny resemblance between Susan and her mother, Mrs. Applegate. As they converse, Philip confides that Pamela has married someone else – a revelation that underscores his own vulnerability in the face of war. He shares an anecdote about a fellow officer traveling with his sweetheart, bound for a hasty marriage in Nevada, which will be marked by a tearful goodbye.

Susan’s mother, ever the sage and perceptive one, offers a poignant reminder that men heading into battle have no right to tie the knot – a notion that Philip is forced to confront. As he stands at the train station, Susan materializes at the far end of the platform, her name echoing through his mind like a whispered promise.

As they finally draw near, Philip’s eyes – one bad and one good – lock onto Susan, his smile growing as the pieces fall into place. He inquires after her identity, and Susan reveals herself to be none other than Susan Kathleen Applegate, a woman poised to marry a soldier if he will have her. Her theory about the Fall of France is merely a testament to her unwavering conviction.

As they stand at the edge of the platform, Philip’s gaze lingers on Susan, his bad eye betraying a hint of uncertainty before he looks away. Their lips meet in a tender kiss, and with a chorus of “Su-Su!” and “Come Philip!”, they dash towards the departing train, their love and destiny inextricably linked.