In June, 1934, He was in Zurich, Switzerland. In Paris, Gabriel Pascal had discussed the film project with Norina and others, but there was conflict. Charles Purdom, in his book, "The God-Man", continues the story:

. . . He, Pascal, had gotten seriously interested in the project but found he could make no headway with the ladies who had put it to him. Being a highly impatient man, he fell out with them so seriously that when he heard Baba was to visit Paris he determined to tell him that his (Pascal's) time was being wasted. However, he missed Baba in Paris but decided to follow him to Zurich to have the matter out. Pascal was in one of his characteristic tempers throughout the journey and had reached boiling point when arrived at Baba's hotel and demanded to be shown up at once to his room, determined to denounce Baba and his friends, but as he crossed the door where Baba was seated and strode up to the softly smiling Baba, his anger melted away. There was no violent explosion, he looked at Baba in silence, then said, "What do you wish me to do?" Baba bade him be seated, touched his hand, and talked about his work. Reference was made to the film, but Pascal had nothing to say, neither had Baba, except that it could wait; some time it must be done. They had a quiet talk, then Pascal went away, happier than he had ever been. "I was at once his devoted servant", said Pascal who told me the whole story himself. "Anything he wishes me to do I will do. I shall make the film. It will be my life's supreme task. But I shall not need a script. I shall go out with my men, one day, into the jungle, and there we shall start on the film. It will be made on the spot. I shall show how God lives with men."

Once Baba teased Pascal, seated at His feet, by saying He knew where the "Missing Link" in evolution was. Pascal got very enthused — his mood improved. "I’ll tell you not today but tomorrow," Baba said. But He never did. At one time Pascal enlisted his own Hollywood script writer, Hy Kraft, in preparing a script for the film project even though Mr. Kraft was not enthused about gurus. But it never was used. A strange fact about all these scripts is that none of them have survived. Those involved even "invested" in shares in the film. Years later, while out driving in India, Elizabeth Patterson asked Margaret Craske what she had done with hers. "I burned them,” Margaret replied. Elizabeth was so shocked she almost drove into the ditch!

Finally, in December, 1934, Meher Baba came to the capital of illusory film, Hollywood, with a group of disciples and devotees, with the express purpose of getting the film under way. Adi K. Irani helped in this undertaking. In Adi's talk at the opening of Oceanic, July, 1976, he reminisced about this period:

Now I should say a few words about the Chart. Before Baba left for Hollywood, (in 1934), for the express purpose of getting this film materialized, He asked me to prepare the Chart. He gave me all the points; the Chart was so big — 12' by 12' — or even bigger. With the help of two or three persons I worked out the entire Chart, and at every point I went and showed it to Baba. We had to change some things here and there. He asked me to put in certain titles; later He asked me to change them, and eventually the Chart was finished, and we all went to Hollywood. We stayed there one month*; Minta (De Leon) and Norina (Matchabelli) were there; and Quentin Todd . . .

There were so many scenario writers . . . they were asked to write scenarios for the film project. Baba used to talk to them. Before they left, Baba asked me to go and discuss the project with them, but not in His presence at all.

In that Chart there was a Spirit Dance which Baba often mentioned. I am not aware what importance that Spirit Dance had, but because Baba mentioned it so often, it must have been important. The diagrams were there in the Chart, of the evolution of the different forms, the transformation of one form into another and their descriptions, all were there. I was asked to discuss the film with the scenario writers and producers also. We discussed and discussed and they could not agree on anything at all. They felt entire material was such a heavy thing that they told me in a particularly strong manner

*The actual dates were December 18, 1934-January 7, 1935 - 3 weeks, Lord Meher online -JK webmaster