As expected, this is the setting copy for the Ace Double, number D-295. Unexpectedly, it appears to be an original, not a carbon copy. Evidently Space Stories returned the ms--on which exactly none of their editing is evident--which was then sent to Ace five years later, with Jack's address c/o The Scott Meredith Literary Agency crossed out on top left of the first page. Or perhaps the carbon went to Space Stories. In any case, that version is entirely faithful to the ms--and fortunately was the primary evidence for VIE TI.

The Ace of course is abridged. However, there is considerable editing even in the parts that survived. Even in the 50s, editors had their difficulties with some of Vance's characteristic formulations, or felt a need to spell out that to which Jack only alluded.

The editing is not only for length, however. The character of Barch, especially in the opening chapters, is softened, and much of the complexity of his relationship to Komeitk Lelianr is eliminated. This is particularly the case during the visit to San Francisco, from which four-and-a-half ms pages have been completely removed. These are pages 27-30, which have been discarded. They contain the material following Komeitk Lelianr's line "Whatever is convenient for you" through the end of Chapter IV. It goes without saying that all reference to the child has been eliminated.

Put simply, those aspects of the story which raise it above run-of-the-mill 50s SF failed to find their way into the Ace version.

The manuscript was created from start to finish, not only by the same typewriter, but by the same ribbon. Starting at about page 70 (of 212), the wear-and-tear becomes increasingly noticeable and continues to the end, with occasional moments where a less worn spot comes under the keys. This phenomenon will be familiar to anyone old enough to remember manual typewriters and typewriter ribbons.

In other words, there is no evidence that any part of the final chapter was written later than the rest of the story.

The original title, Planet of the Damned, is scratched out in pencil on the first page and replaced by (typed) Slaves of the Klau. John Vance asked Tim Underwood if he had any insight as to the provenance of the title Gold and Iron, and was simply told that Jack had declared that to be his preferred title. So on that score we don't know any more than we used to. It might be that he anticipated the magazine's preference for a jazzier title; it might be an afterthought, and if it is it was a good one.