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Tarzan and the Valley of Gold

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Tarzan and the Valley of Gold A century before the term “crossover” became a buzzword in popular culture, Edgar Rice Burroughs created the fi rst expansive, fully cohesive literary universe. Coexisting in this vast cosmos was a pantheon of immortal heroes and heroines—Tarzan of the Apes®, Jane Porter™, John Carter®, Dejah Th oris®, Carson Napier™, and David Innes™ being only the best known among them. In Burroughs’ 80-plus novels, their epic adventures transported them to the strange and exotic worlds of Barsoom®, Amtor™, Pellucidar®, Caspak™, and Va-nah™, as well as the lost civilizations of Earth and even realms beyond the farthest star. Now the Edgar Rice Burroughs Universe expands in both classic and all-new canonical novels written by the talented authors of yesterday and today! TARZAN AND THE VALLEY OF GOLD e Edgar Rice Burroughs Universe is the interconnected and cohesive literary cosmos created by the Master of Adventure and continued in new canonical works authorized by Edgar Rice Burroughs, Inc., the corporation based in Tarzana, California, that was founded by Burroughs in 1923. Unravel the mysteries and explore the wonders of the Edgar Rice Burroughs Universe alongside the pantheon of heroes and heroines that inhabit it in both classic tales of adventure penned by Burroughs and brand-new epics from today’s talented authors. T® S B® S Tarzan of the Apes A Princess of Mars e Return of Tarzan e Gods of Mars e Beasts of Tarzan e Warlord of Mars e Son of Tarzan uvia, Maid of Mars Tarzan and the Jewels of Opar e Chessmen of Mars Jungle Tales of Tarzan e Mastermind of Mars Tarzan the Untamed A Fighting Man of Mars Tarzan the Terrible Swords of Mars Tarzan and the Golden Lion Synthetic Men of Mars Tarzan and the Ant Men Llana of Gathol Tarzan, Lord of the Jungle John Carter of Mars Tarzan and the Lost Empire Tarzan at the Earth’s Core P® S Tarzan the Invincible At the Earth’s Core Tarzan Triumphant Pellucidar Tarzan and the City of Gold Tanar of Pellucidar Tarzan and the Lion Man Tarzan at the Earth’s Core Tarzan and the Leopard Men Back to the Stone Age Tarzan’s Quest Land of Terror Tarzan the Magni cent Savage Pellucidar Tarzan and the Forbidden City Tarzan and the Foreign Legion A™ S Tarzan and the Madman Pirates of Venus Tarzan and the Castaways Lost on Venus Tarzan and the Tarzan Twins Carson of Venus Tarzan: e Lost Adventure (with Escape on Venus Joe R. Lansdale) e Wizard of Venus C™ S e Girl from Farris’s e Land at Time Forgot e Lad and the Lion e People at Time Forgot e Rider Out of Time’s Abyss e E ciency Expert e Girl from Hollywood V-™ S Jungle Girl e Moon Maid e Scientists Revolt/Beware! e Moon Men e Resurrection of e Red Hawk Jimber-Jaw Pirate Blood T M™ S Beyond the Farthest Star e Mucker Marcia of the Doorstep e Return of the Mucker You Lucky Girl! e Oakdale A air Forgotten Tales of Love T C™ S and Murder e Eternal Savage e Mad King T A S e War Chief Apache Devil W T e Bandit of Hell’s Bend e Deputy Sheri of Comanche County H T e Outlaw of Torn I Am a Barbarian P W Beyond irty Minidoka: 937th Earl of Mile Series M O T e Cave Girl e Monster Men e Man-Eater ERBUNIVERSE.COM This was not only one of the strangest jungle trips he had ever taken, but also one of the strangest jungles he had ever traversed. FRITZ LEIBER Cover art by RICHARD HESCOX Interior illustrations by DOUGLAS KLAUBA EDGAR RICE BURROUGHS, INC. Publishers TARZANA CALIFORNIA Tarzan and the Valley of Gold © 1966, 2019 Edgar Rice Burroughs, Inc. Foreword © 2019 Edgar Rice Burroughs, Inc. Introduction © 2020 Edgar Rice Burroughs, Inc. Map © 1966 Edgar Rice Burroughs, Inc. Cover art by Richard Hescox and interior illustrations by Douglas Klauba © 2019 Edgar Rice Burroughs, Inc. All rights reserved. Except as otherwise permitted by law, no part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the written permission of the publisher, except for brief passages quoted in a review. Trademarks Edgar Rice Burroughs®; Edgar Rice Burroughs Universe™; Enter the Edgar Rice Burroughs Universe™; ERB Universe™; Tarzan®; Tarzan of the Apes®; Lord of the Jungle®; Lord Greystoke™, Tarzan and Jane®; Jane Clayton™, Jane Porter™; Barsoom®; John Carter®; Dejah Thoris®; Pellucidar®; David Innes™; Amtor™; Carson of Venus®; Caspak™; The Land That Time Forgot™; Va-nah™; The Mucker™; and The Custers™ are owned by Edgar Rice Burroughs, Inc. The Doodad symbol; the Edgar Rice Burroughs Universe logo; the Enter the Edgar Rice Burroughs Universe logo; the ERB Universe logo; the ERB, Inc. solar system colophon; Tarzan Africa logo; and the Since 1912 Tarzan logo are trademarks of Edgar Rice Burroughs, Inc. ERB Universe Creative Director: Christopher Paul Carey Special thanks to Scott Tracy Griffin; Richard Hescox; Douglas Klauba; Blake Mann; Janet Mann; James J. Sullos, Jr.; Cathy Wilbanks; Charlotte Wilbanks; Tyler Wilbanks; and Mike Wolfer for their valuable assistance in producing this book. Edgar Rice Burroughs, Inc., Tarzana, California EdgarRiceBurroughs.com Dedicated to the Memories of Edgar Rice Burroughs A. Conan Doyle Talbot Mundy and Ian Fleming and also to the Living Persons of Hugh Walpole, semanticist Clair Huffaker, script writer and The Brazilian SPI Morrer se preciso for, matar nunca! The author wishes to acknowledge his indebtedness to Senhor Castro of the Los Angeles Brazilian Consulate for information about his country, and to Bob Foster and, in particular, to Andrew Kempner for information and visualizations graciously furnished about karate and ákido. However, none of these gentlemen should be held responsible for any improbabilities and unlikelihoods in this book. FOREWORD y weintraub was ready to take Tarzan into the swingin’ sixties. And he wasn’t shy about telling S the world. “Tarzan is no longer the monosyllabic ape-man but the embodiment of culture, suavity and style,” shared the filmmaker in “Tarzan: Still a Swinger but Suave,” a July 1965 interview with the London Sunday Times. “He’s equally at home in a posh nightclub or the densest jungle.” Weintraub, a hotshot young television producer from New York, had recently taken over the Tarzan film fran- chise in a metaphorical passing of the vine from veteran movie mogul Sol Lesser. Lesser had produced 16 Tarzan films in 25 years, and the time had come to step back. Weintraub and Lesser came to terms during an April 2, 1958, lunch meeting, with the latter selling his ape-man cinema stakes for $3 million. Though Tarzan remained a financial juggernaut in the motion picture jungle, Lesser’s traditional ape-man for- mula—including Tarzan’s mate Jane, their adopted son Boy, Cheeta the chimp, and their treehouse accommoda- tions—was waning with post–World War II audiences, which had grown increasingly sophisticated as the world shrank and radio, television, and theatrical newsreels brought exotic foreign lands into their consciousness. Weintraub’s vision was to update Tarzan, bringing the ape-man into the modern world with more mature plotlines and characterizations. Lesser’s discovery Gordon Scott returned to the role in Tarzan’s Greatest Adventure xiii xiv foreword and Tarzan the Magnificent, a pair of films shot partially on location in East Africa and patterned after the popular Westerns of the day, with a lone Tarzan doggedly hunting down a band of criminals to bring them to rough jungle justice. Two more Tarzan films starring Jock Mahoney followed, set in India and Thailand, to take advantage of economical location shoots and enhance Tarzan’s appeal to global audiences. With each Tarzan film more profitable than the last, Weintraub was ready for the final phase in his plan—a trio of films shot in Latin America, starring Mike Henry, a handsome professional football player and former linebacker for the Pittsburgh Steelers and Los Angeles Rams, chosen from a pool of 400 candidates. At 6'3" and 220 pounds, (Tarzan film historian Gabe Essoe dubbed him “Tarzan by Michelangelo”), Henry seemed the ideal candidate to play this iteration of Tarzan, with which Weintraub would capitalize on the latest media fad—international intrigue investigated by spies like James Bond. The first film on the slate, with the working title of Tarzan ’65, saw the ape-man arriving in Mexico to stop scheming supercriminal Augustus Vinaro (David Opatoshu) from looting the lost civilization of Tucumai, aided by his hulking henchman Mr. Train (Don Megowan, like Mike Henry, an alumnus of the University of Southern California football team). Starlet Sharon Tate was announced as Henry’s female costar, but her manager Marty Ransohoff removed her from the picture before it began shooting, hoping to cast her in higher-profile fare. She was replaced by Nancy Kovack as Sophia, Vinaro’s expendable moll who later casts her lot with the ape-man. The pair must also steward Ramel, the lost princeling of Tucumai (Manuel Padilla, Jr., in his first appearance in the franchise), back to his homeland, further complicating their journey. Beastly foreword xv support came in the form of Major the lion, Dinky the chimp, and Bianco the leopard (changed to an indigenous jaguar in the novel). Filmed entirely in Mexico on a budget of $1.25 million, production began on January 25, 1965, with locations including the Plaza de Toro arena, Chapultepec Castle, the Cacahuamilpa Cave, and the Teotihuacán ruins, with interiors shot at Estudios Churubusco. Retitled Tarzan and the Valley of Gold for theatri- cal release, the film was helmed by Robert Day, who would return for the succeeding Henry outing, Tarzan and the Great River—his fourth and final Tarzan fea- ture as director.
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