On the way back, Baba ordered the driver to circle Greta Garbo's house three times.
A few days later, Mercedes went away for several weeks and when she returned she found that her cook had transformed into a mild angelic creature, meek as a lamb. Puzzled by this, she finally demanded to know what had produced this change. The cook explained, "I know you will find it hard to believe, but while you were away, I woke up one night to find my room flooded with light, and the Master who came to tea entered my room. I got up out of bed and touched him and, I swear, I felt his robe in my hands. For some reason that I cannot explain, I have not felt angry since."
In one of Vollmoeller's scenarios, he had written that a husband and wife achieve God-realization together. On Tuesday, 1 January 1935, Baba pointed out that this could never happen.
He explained, "No two souls united in wedlock as husband and wife can be Realized together simultaneously — never ."
Vollmoeller asked Baba why this was so.
Baba elaborated, drawing a diagram: "Because in the chain of births and deaths, each opposite sex changes simultaneously; that is, male becomes female, and female becomes male."
Baba drew a curving vertical line denoting the changing of male and female forms to illustrate his point.
"Two souls reincarnate together changing their sex for a number of lifetimes until they drift apart at that certain point nearest to Realization."
Baba concluded, "The secrets of life are absolutely unintelligible to the human mind. That is why they are never revealed as they are, but in different methods and shapes.
"Love, real and divine, does not evolve, nor is it realized from temporal love. They are both quite different. Human or temporal love at its best cannot be compared to divine love even in its beginning stage."
Referring to Vollmoeller's screenplay, Baba explained: "Allan and Victory [the two characters in the script] do not earn or attain God-realization through their love, because love divine and love temporal are poles apart. Hence, showing their strong romantic side and love in our story would weaken the real and fundamental principle or theme of the story, and would again be misleading, for reasons explained above."
Baba himself then dictated to Vollmoeller the details of how the God-realization scene should be portrayed on the screen and also gave instructions for a spirit dance and resurrection scene to be shown after the character dies.
He specified, "The scene will have seven different movements accompanied by seven different musical themes with seven different colors in the background."
Margaret, Quentin and others were working on the choreography for this.
A woman actively involved with the Theosophist movement had spent many years in India. When she met Baba on the 1st, she asked him if she would ever go back to India.
Baba told her she would, later in her life, but then commented, "Truly speaking, it does not matter where one lives. It matters how one lives. Even living in the mountains or caves, one makes no progress at all if one's mind is engrossed in worldly maya. On the other hand, one living in the world, doing all his duties therein, can achieve much if he is not engrossed in maya and thinks of the Path."
The woman asked, "Have you met Annie Besant?"
"No, but I know her. She is an advanced soul. But in spirituality, it is the heart that counts and not the head. Too much of intellectual discourses undermine the object with which these [movements and organizations] are started."
Baba and his group took walks most evenings. Minta once recollected, "There were the most fabulous sunsets. But they were not to be enjoyed. Baba walked terribly fast and we used to run to keep up with him."