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Ever experienced 'Déjà vu'? You might here!
The Wharf Area
I've decided to re-purpose this page from just 'anomalies' to a greater study of 'The Wharf' which I first touched on the 'On Set' page as studying the Wharf layout proved rich in detail from the very start of the series, something I had not spotted until I started exploring and mapping the area. It has to be said at once that the 'Wharf' was obviously a purpose-built set, much in the same way as 'The Green' and does not link the way I have shown with the arrows on both maps. I believe that I have recreated the logical sequence of locations which during the series are linked with filmed inserts, or car journeys or just by hopping from one location to another which will have no real relevance to the placement of the areas in question except to follow the storyline ......
Here is the scribble on the back of the envelope starting point!
Here is the first attempt at the Wharf Map and I have taken the precaution of marking the peripatetic Telephone Kiosk with appropriate arrows!
In episode 363 we are treated to the arrival of Eddie Jacks (Dan Duryea) as Rita and Ada's absent father/husband in full 'reprobate' manner - we are also introduced to the Riverboat or as Eddie wanted to call it a 'Floating Pleasure Palace'.
The series has hitherto been a rip-roaring success and has reached beyond a 350 episode threshold, its popularity must have been assured for the powers-that-be to have introduced a steamship, or at least part of one into the action heralding its arrival together with that of renowned and very popular actor Dan Duryea (one of my all-time favourites I have to admit, not that I'm biased of course!). Who else, arriving in Peyton Place merited such a lush backdrop? Even Dr. Rossi had to be content with a train ....
From the Top ..... (Left to Right on screen)
Behind the Tavern/Boarding House
At the start of the series as we came to know the characters, it was apparent that Rita and Joe were from the 'wrong end of town' (it's a much seedier place in the original books and in the films) but in the television series the 'poorer' characters were banished to the 'Wharf' area. With that philosophy in mind I have found a few images to confirm the first of my areas of interest that of the hitherto unknown proximity of the living areas of the Webber and Chernak families.
The Webber House
The Chernak*# House
Rodney approaches the Chernak household on foot (ep.119) along the dirt track running parallel with the Wharf Boardwalk
This image is taken from an episode after the two images shown below but we have already seen this area (especially the distinctive building structure) at the Shoreline Garage when the District Attorney's wife's car requires urgent attention to repair a damaged wing. It also appears as part of the background to Ada's Tavern rear entrance to her living quarters which in turn morphs into the Webber house entrance porch - confused? Yes, so am I!
Rodney has gone to try and reason with Joe Chernak and we are introduced to the exterior of the Chernak House (ep. 111)
Brother and sister Chernak (Joe and Stella) discussing the events leading up to Rodney's visit to the house (ep 112)
These two images give us a very clear view of the type of living quarters that the factory/wharf/dock employees might expect to live in, For the purpose of this exercise and to lead into an anomaly which will be explored further along, please note the fencing in the background situated between Joe (standing, left) and Stella (seated, right).
*# The Chernak name has promoted some discussion on a Facebook page.
The Road from the Fire Station/'Doctor's Corner'
The Green abutting the entrance to the Wharf Area
Four images which I believe provide the entrance to the Wharf area making it possible to access the Wharf on foot or by car at least to the point where Steven and Betty parked the car when they went on their date to Ham's Shoreline Arcade.
It's sometimes difficult to adjust the mind's eye to what it sees and what your imagination/logic tells you you should be seeing. Although no actual map (or not one that has been discovered yet by the legion of fans) of the location of Peyton Place, as seen in the television series, has been found, I am trying to build/design one in these pages. Of course the logistics of the set do not allow for an actual plan but a considered stab at one is what I am attempting (anomalies allowing). These four images come from four timeframes and storylines of the series. The top image (from ep. 107) shows playboy Rodney Harrington parking his car outside the general Pharmacy/Antiques/Dress Shop frontages on the Green. I refer to the Antiques Shop as in the bottom left hand corner the items/props relating to this resource are clearly visible. I believe that the original inclusion of an Antiques Shop made an excellent photo opportunity and tied in the 'Green' with the historical value of 'Peyton's Place' founded in 1650. The pillory/stocks are across the road in the grassed area and beyond that there is the historical 'Colonial Post/Peyton Place Inn' which houses an historical carriage on its frontage. Whether the items are originals or props they make fabulous photo opportunities and the early publicity shots always showed the Antiques Shop entrance as a backdrop. (As a former prop maker myself, if I had made or found something fabulous to dress the set with, I should want to have in view) - I digress ......
The top image from ep. 141 places the closed unnamed bar (unnamed because the screenshot images are so poor) immediately to the left (of your screen) alongside the 'signpost boat' which never moves and appears to be a marker to herald the direction and entry into the Wharf Area. Similarly, the second image, from an early episode gives us an excellent placement of the Bandstand to the right of the screen, Fire Brigade (top), and the static Sailing Boat to the left of the Fire Station enticing us to look in that direction to see the Wharf. Not forgetting the mysterious high-rise building in the background (on the right) which really has no place in a nice little New England town teeming with intrigue. The third image (ep 111) gives us volumes of information and placement. On the left you can clearly see part of the Doctor's Surgery 'tower' and below that the Ships Chandlery sign which is run by Eli Carson (Frank Ferguson). On the far right we are directed to notice the prow# of the static sailing boat. Then to the left of the prow is, what quite frankly, looks like a run-down old shack with two figures sitting on stools and a load of junk in the background, possibly it was not yet determined that this shack might be of considerable interest to the viewers? The purpose of that general area is never really defined exactly, but it is where Kim Schuster (Kimberly Beck) ran to after escaping from the library which led to her witnessing a fatal fight on the Wharf and where Allison (Mia Farrow) and Rod (Ryan O'Neal) cemented their fledgling romance after she told him she didn't like being called 'Alice in Wonderland' or 'Fair Lady' (ep. 11) and wanted to be treated like a real person not a figment of someone's imagination. That romance would lead to later complications between the two and an excuse for Allison to leave the show in quite literally, very unsatisfactory circumstances!
Alison in splendid isolation in the 'unnamed' area by the Fire Station bedecked with decorations in honour of 'Founders Day (ep. 11) - Betty has just sought out Rodney for urgent talks.
The area is not identified by a specific name (although Allison mentions it when she is asked where she found Kim hiding (ep. 113). The fourth image (ep.212) shows the characters of Anne Howard (Susan Oliver) and Hannah Cord (Ruth Warrick) meeting for the first time and provides a clue (if not a name as it is very blurry) to the nature of the 'Coffee Stall' in the distance. The penultimate image (ep. 195) is another winter scene with the shack firmly closed up but still and integral part of the design! The final image gives us Jill Smith (Joyce Jillson) carrying her baby, on foot, from the Boarding House to her place of work now renamed 'General Store' and in keeping with the programme storyline. Jill lives in the Boarding House so it is a matter of logic to deduce that she takes the shortest route giving my theory of there being a direct route from the Green to the back of the Wharf commercial buildings via that 'Top thoroughfare', validity. This image is from ep. 413 so quite a bit of shifting and cleaning up has been applied to this popular section of the set which still isn't terribly well utilised in later episodes despite the longevity of the series.
Rodney and Allison race up to the unidentified entry to the Wharf area, passed the seasonal coffee shack as they intensify their search for Kim in ep. 113
A good view of Allison and Rodney searching the newly cleaned up and hitherto unnamed and unused set dressing opposite Doctor's Corner.
Having mentioned the search for Kim Schuster it seems to fitting to add two images which give us a little more information about the odd little area sandwiched between the Fire Depot and the tower that dominates 'Doctor's Corner' before before reaching the concourse that starts with the garage which eventually becomes the domain of the Harrington Brothers and boy! is there a shake-up behind the scenes after that!
# The "prow" is the forward-most part of a ship's bow above the waterline. The terms prow and "bow" are often used interchangeably to describe the most forward part of a ship and its surrounding parts.
The Main Thoroughfare/Boardwalk
The Lobster Shack (also sometimes referred to as the Chowder or Lobster Pot)
I have to admit to being (sometimes) perplexed as to the actual name of this establishment and much of what is written below is based on that bewilderment - I'm fairly sure I have heard the place called by a variety of names - however, as usual the Getty archive has provided the answer. I am full of admiration for the the son of the original Getty who took over this mammoth (and undoubtedly lucrative) undertaking. The image below comes from very early episodes of the drama when perhaps I hadn't started paying quite so much attention to detail as I do now to attempt to recreate the Wharf which does play such an integral part - it is a temporary home to characters who play minor parts in the action, it is a wonderful social area, the young are drawn to the Arcade, those old enough to drink are drawn to Ada's Tavern. More permanent members of the cast but not part of the elite existence of the Peyton Place glitterati have their homes based in a no-man's-land between the end of the 'Green' and to the side of the 'Wharf'. It is also divided into two by those who fish for a living and those who park their leisure boats on the same dock. The Wharf is teeming with 'all human life!' (not to mention the peripatetic telephone kiosk/booth and seemingly abandoned surfing boards!)
Christopher Connelly Appearing In 'Peyton Place'
Unspecified - 1965: Christopher Connelly appearing in the ABC tv series 'Peyton Place', episodes 3 & 4. (Photo by Walt Disney Television via Getty Images)
Allison is seen stealthily approaching the clearly marked 'Chowder Pot' offering a menu of Chowder, Fried Ham, Ham & Eggs, Ice Cream, Hot Coffee, Milk, Tea, Pies, Cakes and Soft Drinks (it also seems to provide Cigarettes)
This scene in ep. 107 introduces some levity into the series. Allison and Rodney are preparing for the great annual 'Clambake' due to take place on the beach that evening - they are however intending to cheat by bringing 'store bought' produce instead of fishing their own. The proprietor sells them two lobsters and some clams to take with them. Normally the food would be prepared at the 'Chowder Pot.' I'm not sure why I have an alternative name for the premises or maybe I did indeed hear it at sometime in the series. After all, other locations have had name changes, most notably the Colonial Post Inn.
The three images above give, I believe, a general overview (plus anomaly) and accurate perspective of the location and purpose of the seasonal 'Chowder Pot'.
The top image (from ep. 299) gives us the image of the Wharf from the boardwalk and encompasses an unidentified wall*#*, the recess that houses the 'Chowder Pot' and the exterior entrance stairway to the Boarding House accommodation. It also places the peripatetic telephone kiosk (just visible on the far right of the image) in front of the Boarding House to the right of the Boarding House window. The second image is taken from an earlier episode during the night of Joe Charnel' death (ep. 113). Realising that the injuries to Joe were more serious then he at first thought, Rodney runs to the public telephone kiosk which is now just visible directly under the partial sign identifying 'The Chowder Pot', behind the upturned boat and leaning against the left-hand side of the Boarding House. This image also gives us an exceptional example of the quality of the set decoration as we experience a visual feast of the 'pebbledash' exterior cladding. The third image, partially blocked by Steven Cord (ep. 263) accessing the Boarding House stairwell gives us an excellent view of the layout of 'The Chowder Pot.' Steven is out of his comfort zone in this episode as he is about to examine the possessions of his late sister Anne Howard, who had been yet another tragic casualty of an unresolved murder.
Here are more images from an earlier episode (ep. 135) which give us more information about the specific layout, functions and some interesting additional views of the Boarding House.
'The Chowder Pot' is a popular seasonal eaterie and as such only features sporadically and never during the winter months when it, and the Arcade seem to be dumping grounds for all variety of boating and fishing tackle. The additional four images (directly above) give an excellent overview of the cleverly thought out set design.
The top image gives us a slew of information of where the eaterie is situated in the design of the set placing it squarely next to the Boarding House, the staircase pointedly leading to the individual rented area used by patrons. Visible also is the 'peripatetic' public phone booth which in later episodes will be seen inside the Arcade niche, or in front of the Boarding House wall on the other side of the stairwell. This image also shows us the fresh lobsters being brought in by the owner and the canopied area where customers can sit and wait for their order to be prepared whilst enjoying a coffee or soft drink. We also see one of the pub-like/picnic area wooden garden furniture structures of combined table and seating where a meal can be enjoyed outside. Presumably these temporary structures can be stored out of the arctic conditions which visit New England for a long winter season. The next image shows the vast oven on which the unfortunate lobsters and other sea creatures are prepared and customers can select their lobster of choice from the barrel they are kept in. The third image shows a combination of preparation measures as Stella chooses her lobster while the Chef tends to his cooking pots on the giant oven. You can also see a stack of chopped wood to the right of the oven and a jug of some preparatory sauce or other secret ingredients in the preparation of the meal. The fourth image is another one that gives us a greater insight into the area beyond the 'Chowder Pot' itself. Leslie is hosting Rita and Norman at the front of the image under the canopied bar area and Stella can be seen on the opposite side of the structure and behind her on the right is a side view of the 'Guest House' showing us in quite exceptional detail the dimensions of the building. At the start of the scene, as Stella arrives she actually walks along the path that runs parallel to this new aspect, once again placing the Chernak house directly behind 'Ada's Tavern'.
*#* I make a point of referring to this wall as 'unidentified' as I'm guessing that it is actually a physical part of the actual studio lot (reference 'Fox Lot Directory') and has been decorated to look like the side of a building appended to the site. The enormous 'windows' seem a bit innocuous considering the size of the Boarding House and they might be passed off as Mansion or Hotel windows but there is no plot that would sustain this. As the photograph is a rare sighting, I believe it is just set dressing.
The Boarding House
Ham's Shoreline Arcade
Steven and Betty enjoy an outdoors date in an early episode (ep. 107) of the series.
These two images show Betty and Steven approaching* and then paying to enter the 'Shoreline Arcade'. As we will see later this building has an additional name identifying it as 'Ham's Shoreline Arcade'. For the purpose of these scenes, the Arcade is a very real set and Betty and Steven are actually seen entering the building to try their hand at whatever delights there are in there. Note also on the top image as Betty and Steven approach the Arcade that to the left of the 'Shoreline' advertising wall hoarding, there appears to be a food kiosk decorating the Arcade wall and a bench (under what looks like a shuttered window) set against the wall of the Boarding House** - there is no sign, as yet, of the (as I like to call it) 'peripatetic telephone kiosk' which starts appearing when the storyline requires a public telephone to be used ........
* Note: Betty and Steven approach this entertainment from the Chernak house location, via the cut-through next to Ada's Tavern having parked their car on the road behind the (never used in the action) Sparhawk Employment Agency Building across from an equally unused Mansion-like house.
Only a handful of episodes later (ep. 111) Joe Chernak, up to no good, gives us glimpses of additional information
Joe, as usual, with a bee in his bonnet over something makes his way over to the Wharf clutching and drinking from a bottle of beer - never a good mix with his volatile character. In both images the angle shows us that this is indeed Ham's Shoreline Arcade. The top image has the Arcade abutting Ada's Tavern which has a stack of barrels, in front of a very pretty stone-pebbled exterior wall, to provide the Taverns' authenticity and provenance. In the image below we are shown an excellent view of the ** Boarding House frontage, which (and it took me ages to work this out) shows the private entrance into the bed/sitting room facilities offered with a general entrance (presumably where guests would first register) on the ground floor directly under the top platform which leads into the paying facilities. Joe is inconveniently blocking the bench (under a now unshuttered window) abutting the wall mentioned earlier. The dormer windows indicating the type of space available to boarders bearing in mind Eli Carson is a permanent resident there.
*Note: Joe circumvented his way to the Wharf not from the Chernak accommodation but from the alternative entrance into the Wharf from the Shoreline Garage Area.
In ep. 143 Steven Cord is seeking eye witness reports in an effort to defend Rodney who has been charged with Joe Charnel' murder - this is an intensely atmospheric image with the murder weapon (block and tackle pulley system with a nasty hook) at the forefront of the picture drawing our eyes away from the Shoreline Arcade.
I wanted to include this image from ep. 141 as it is an excellent example of 'set dressing' and shows the professionalism dedicated to the earlier episodes (as a former 'Prop Supervisor' and sometime set dresser this is an important professional notation for me.
Ada's Tavern
The Front (facing the Wharf) Area
Ada's Tavern on the Wharf - Image sourced from and © of Getty/Walt Disney - Image Provenance : PEYTON PLACE UNITED STATES - OCTOBER 19: PEYTON PLACE - "Set Shots" Set (Photo by Walt Disney Television via Getty Images Photo Archives/Walt Disney Television via Getty Images)
Ada's Tavern abuts an alleyway which leads to the back lot of the living quarters for the lesser and much poorer families portrayed in the series (in the book these were railway cuttings) who either worked in the Peyton Mills (a major employer) or were fishermen. The majority of the remainder of employment opportunities were small individual enterprises such as 'Joe's Boat Repairs' (every Wharf should have one) and showcased in eps. 135 and 141 (shown above). Further down the alley is a café (standing-room only) and the end corners boast small enterprises one of which, I think is a hardware store. It is likely that the owners would 'live above the premises' hence the lack of family homes.
In ep. 141 Rodney is still agonising over the details of the night Joe Chernak attacked him - in this image we get a very clear view of the passageway between Ada's Tavern and Joe's Boat repairs and the standing room only café. This view also shows us that only one wide American car can pass through at any one time making it a very tricky thoroughfare unless you are Lee Webber. The passage way is used as both an entry and exit point to and from the Wharf area.
Stella Chernak hugs the alleyway wall to avoid a confrontation with Rodney - wall art features an advertisement for Fishing Tackle which may or may not be sold exclusively by the Peyton Hardware Co.
These image also from ep. 141 take us on a tour of the details of the passageway as Rodney and Stella have an awkward stand-off. Stella is feigning fear and moving closer to the wall (full of adverts for Peyton products) with the trappings of a hardware store visible in the background behind her, further across the road we see white picket fencing which can also be seen as part of the rear entrance to the area of Ada's Tavern placing the rear entrance of the tavern (living quarters) quite definitely in situ as shown in the next segment of the map.
The Rear Entrance Area
In ep. 107 we see Rita restlessly awaiting Norman, the reason for her distress is that she think Norman has or is about to 'dump' her because of her past (despite him telling her that her previous 'life' is of no interest to him). Despite her constant anxiety 'issues' Rita is a wonderfully perceptive character who usually gets her own way!
This image in particular in ep. 107 links the the location of the rear entrance of the the Tavern with the adjoining passageway leading to the 'top-side' entrance into the Wharf from the Fire Brigade end of 'The Green'.
These three images (all from ep. 107) show a nervous Rita looking our for Norman Harrington who is very late for their date. The top picture covers the porch area entrance into Ada's living quarters at the rear of the Tavern. Whenever this area is shown the exit doors lead out from the Kitchen Dining area with only one other visible doorway into Rita's bedroom. The set does not progress much from there but gains some furniture and office corner space after the arrival of Eddie. The interesting thing about these images is that they point us to the fact that this rear entrance will in time disappear as an entrance to the private quarters of the Tavern and actually become the front porch of the Webber household allowing for the positioning of the Chernak and Webber houses to be facing each other (the lattice work will bind the two together). In the meantime, in a very future episode (ep. 367) when Eddie makes himself known to Rita, Rita visits her mother to confront her and she knocks on the rear entrance to gain entry. Ada is delighted to see her but Rita only wants a fight - the scene at the door is brief and it isn't possible to get a decent shot, but the view beyond the door is unobstructed and no part of the porch or its overhanging roof is visible.
The Shoreline Garage / Harrington Brothers Motorcycles Inc.
Another excellent atmospheric scene setting image, this time from ep. 304 (now one of the colour episodes) showing the bustle of the Wharf from inside 'Charlie's Cider Barrel' which is situated exactly opposite the entrance to the Boarding House exterior staircase. It looks as if Joe's Boat Repairs is open for business and one of the big double doors is open and presumably waiting to receive or despatch a boat.
Ep. 263 gives us the exact location of Rodney's Garage - it is positioned at an angle from Joe's Boat Repairs and looks not unlike a Swiss Chalet - there certainly appears to be some sort of living accommodation above the main entrance so what, apart from laziness, made Rodney use the office as his bedroom? It is interesting to note that from this angle it is not possible to see that there is a passageway between Ada's Tavern and Joe's Boat Repairs. The car parked at that angle also suggests it did not just turn out of the alley way and provides us with a clue that there is another entry onto the Wharf other than from the back of the Tavern.
Rear of the Shoreline Garage approach from the 'alternative' route using the Green
This image from ep. 135 features the arrival of District Attorney John Fowler (John Kerr) via the back road leading from the Green, the 'Sparhawk Employment' building is seen in the background.
The District Attorney John Fowler (John Kerr) brings in his wife's car for repairs to the Shoreline Garage pre-Harrington Brothers
The Garage owner discusses time and estimated costs with John Fowler but remains an uncredited participant in this episode despite having quite a wordy script to deliver.
Observe the background to this image - in much later episodes, 400+ onwards this area will receive a radical change and those very prominent steps leading to the building currently housing some spare kayaks turns into something quite different!
Sparhawk Employment
In ep. 219 the ill-fated Anne Howard buys a car from Rodney Harrington who now owns the Shoreline Garage (and inherits Lee Webber). Directly behind his establishment is the interestingly named Sparhawk Employment building which never actually features in the programme and therefore never seems to offer any employment to anyone, permanent or itinerant! I was curious abut the name and discovered it is an accepted shortform of sparrow hawk: sparrow hawk (English) Alternative forms sparrow-hawk, sparrowhawk, sparhawk, spar-hawk Origin & history From Middle English sparhauk, sperhauk
Charlie's Cider Barrel
The New Arrivals (when Eddie comes to town) and a Riverboat
An interesting view of the Wharf (ep. 414) through the trellised balcony area of a Riverboat Eddie hopes to convert into a 'Floating Pleasure Palace.'
Was this storyline of the Riverboat 'a sprat to catch a mackerel'? We are first introduced to this new, pretty substantive prop/set dressing when Eddie Jacks tries to schmooze Rita, before introducing himself to her and revealing who he is, the father whom she has never known. The irony is, that as she has never known him she doesn't feel the need to know him especially as she is still traumatised at what she had seen earlier in the day. I think we know from then on that 'charming' Eddie is not as charming as he actually thinks himself to be - he's like a rubber ball, bouncing back from every situation. He's also an adept at ruffling people up the wrong way, in some cases, we don't mind! In this image which had been used in the credits for the purpose of advising us that Elliot Carson is striding his way across the whole of the Wharf to confront Rodney at the Shoreline Garage. It's an unusual route for Carson to be taking as according to my map calculations, the Clarion Building is on the Green in the opposite direction. The image itself is of interest as by its very aspect it tells us exactly where it has been 'berthed' although it does not indicate if it is a permanent cemented in 'berthing' or just secured to the boardwalk in the manner of all anchored vessels - possibly there is a clue in Eddie's name for the structure which includes 'floating' as a descriptor. Out of sight on the right we know is Rod's 'Shoreline Garage' and in this instance Elliots destination. Just visible is a corner of 'Joe's Boat Repair' workshop and then, separated by quite a wide alleyway which we know can take at least the width of a good-sized American Car of the 1950/60s and houses a makeshift Coffee Bar is Ada's Tavern, then Ham's Arcade, the Boarding house and Stairwell, the niche for the 'Chowder Pot' and the large mystery building which may or may not be a hotel or mansion, both fairly unlikely here on the wharf and not used or made reference to in the series. Just peeking through in the distance are what look like either telegraph posts and wires or maybe the main mast of a vessel? Intriguingly and not hidden, is evidence of another high-rise building in the top left - as usual I think we can accept that this is part of the more permanent structure of the Studio Lot covered on the 'Green' setting.
From an earlier episode (ep. 122) shortly after the death of Joe Chernak, his father and Stella meet on the Wharf (out of picture will be 'Ada's Tavern' on the left of screen and 'Charlie's Cider Barrel' right of screen.) Directly behind them is the open space that will eventually house the 'Floating Pleasure Palace' that Eddie is proposing to establish (note that the 'Shoreline Garage' roof is visible behind Stella's head thus anchoring the proposed Steamboats location).
As the props people and set dressers and designers have gone to so much trouble to preserve authenticity, I thought it might be nice to see what a real similar Riverboat actually looked like, I think you'll agree that there is an excellent likeness.
'The Steamboat' - an image which I think represents the Riverboat on the Wharf - image sourced from thinglink.com with many thanks
Eddie and Rita become acquainted in ep. 367 on a Riverboat that Eddie tells her he wants to transform into a floating 'Pleasure Palace', he omits to tell her that he is her father, the pipe-dreamer.
It is interesting to note that at the conclusion of this reasonably 'frivolous' interlude of Eddie and Rita becoming acquainted this wonderful Riverboat was not utilised again - in much later episodes (in the mid-400s) 'The shoreline' (explored in 'what happens next') takes over as the 'in' place so the inhabitants of Peyton Place never experienced the potential of the mythical 'pleasure palace' instead having to make do with an underground grotto full of 'hip' music and teenagers just reaching the adolescent stage and experiencing all the 'angst' that comes with it!
The Peyton Mill - Location unknown
So just where is the Peyton Mill whose fortunes run throughout the series. When we are first introduced, Leslie Harrington is the man in charge, well he was married to the Boss' daughter ... then things turned sour, truths started emerging and a new manager was brought in. David Schuster was a 'mover and a shaker' determined to make money at all costs, which is possibly why Martin Peyton warmed to him in the first place but he came with baggage a trophy wife with all the insecurities of being the second wife and a disabled daughter. Presumably what Schuster attempted to do (including playing mayhem with the lives of the immigrant population working there) brought Martin Peyton back from his death bed in time to take over the running of not only the Mill but the lives of most of the inhabitants of Peyton Place ...
Somehow, judging by the exterior shots of this enterprise, I always thought it would play a greater part in the proceedings but although the interior shots give us plenty of action only the arrival of Martin Peyton and the some flummery with Rita's father and two separate short spells showing both Rodney and Norman 'grafting' physically there is very little utilisation of the exterior. The props and set dressing are wonderfully authentic and so underused - look for yourselves. I wanted to include them, even if I have no idea where to place the Mill on the map, because of the attention paid to everything!
In ep. 159 we are given a thorough tour of the Peyton Mills which are the backbone for the employment of the population who don't own their own businesses on the Wharf or the Green and who are not fishermen. The Mills appear to be on the outskirts of town but as the series progresses this location (which also houses the administrative offices) gives way to the wharf 'goods received' stores and is referred to as 'x' in ep,?
In an early ep. 52 we are treated to the 'call to work' and 'end of shift' steam whistle.
In the same episode we are shown the Mills' thoroughfare spreading the workers out to their various destinations.
Some snazzy signage lit appropriately to ensure recognition also from ep. 52
Judging by the images from the 'Meet & Greet' (below) this would have been the main entrance for all visitor, white collar and factory workers.
The Meet & Greet
The 'meet and greet' is, I think an important part of the storyline because in this episode Polish is spoken! It places the workers squarely in the East European refugee category. Although I would spell the Chernak name phonetically as 'Czernak' if it were Polish, the surname appears as coming from Czech origins on the internet. In this particular sequence, however the gentleman who greets Martin Peyton and shows appropriate deference by raising his hat carries the name of 'Prochaska.' I looked this up as I have never come across this surname before and I would have thought it was the feminine of a surname making the male version 'Prochaski'. This, in its turn, would have been used for both genders in the English-speaking world which did not take well to having surnames ending in 'ski' or 'ska' preferring the non-gender stereotypes ending in, for instance 'wicz'. However, one internet page took me directly to a 'Czech' only translation and another gave me a Polish coat of arms for the surname 'Prochaska.' So, how did the writers come up with their names? We know the designers have paid a lot of attention to detail and successfully so, but as neither of these two characters appear in the original book (as far as I can remember) what prompted the choice of surnames in the series. I shall speculate only on a superficial level - could 'Chernak' which has its roots in the Czech and Polish word of 'black' be referring to Gus's dark, saturnine looks and his dark view of everything? And 'Prochaska' apparently refers to 'one who travelled on foot, a walker' might have been seen as a good generic term (even though it seems to be more Czech than Polish) for all the immigrants? (I have to laugh at the 'Walker' translation as it always brings to mind Private Walker in 'Dad's Army' and the comedy surrounding a misunderstanding when some pompous idiot demands of Captain Mainwaring 'You have a walker named Walker?)
Martin Peyton's limousine arrives at the Peyton Mill to herald his return to Peyton Place ep. 159 - the chauffeur (Scottie from the original 'Star Trek' series) exits to walk around the car to open the door to for his employer.
Martin Peyton is deferentially greeted by 'Mr. Prochaska' in Polish (ep. 159) - 'Dzień Dobry, Pan' ('Good Morning, Sir')
Martin Peyton returns Mr Prochaska's greeting cheerfully, pleased at the respect shown to him (ep. 159)
The main entrance to the Peyton Mills (ep. 159) - curious that workers and management used the same entrance!
The Peyton Mills 'Modernised'
In episode 417 we are introduced to an updated, modernised and relocated re-make of the Peyton Mills, firmly entrenched on the Wharf! As you progress through the images you will see that although an existing 'lot' has been dressed, the attention to detail is remarkable considering the series will be dropped in less that 100 episodes (there were 514 episodes in total NOT including the currently 'missing' pilot about which little is known). Although I have earmarked this episode as the 'premiere' appearance of the new-style Mill, in previous episodes there has been the occasional shot of the actors moving props around when the action required it, but this is the episode that shows us the entire new location. including a glimpse of Doctor's Hospital in the background and which will lead us to a complete re-imagining of the set in what will become the 'what happened next' section.
A truck delivering goods to the Mill is seen on a busy approach road in episode 417 (the driver is not part of the show), it is a lively place with two oncoming vehicles, a lorry seemingly loaded and departing from the Mills and in the top right hand corner is a building that looks suspiciously like Doctors Hospital. (In fact it is the building that is used as Doctor's Hospital but in theory it cannot be that close to the Wharf). Top left, seen just under the driver's cab roof, the legend 'Peyton Mills founded 1892' can be seen (if not terribly clearly - apologies for the poor quality screenshots of a 'in colour' episode!
I'm always happy to have images of Dan Duryea on my pages, in this instance in ep. 416 he is playing Eddie Jacks the prodigal father whom Rita has never met and whom she is determined to hate on sight. In this image Eddie is nonchalantly waiting for Rita's nemesis, Joe Rossi (Michael Christian) to warn him off. (Joe is Dr. Rossi's younger reprobate brother and the two of them are like chalk and cheese). Rita is haunted by the memory of Joe Chernak whom the younger Rossi resembles in attitude, somewhat physically and bears the hated name. This image gives us an impressive layout, in the background of the new Peyton Mill docking area.
Eddie does what Eddie is best at doing in this scene from ep. 416 prevaricating in his own sweet way and driving Joe crazy by the tactics which are delaying Joe from unloading the recently arrived supplies. The image gives us a clear view of the Receiving/Shipping Bay entrance (Goods Received to us Brits) and completing the layout of the Mill exterior workspace.
In episode 417 the Rossi Brothers l to r Joe (Michael Christian) and Mike (Ed Nelson) seem to be having a civilised conversation instead of being at each other's throats for a change. Although the studio building in the background is still highly visible, the attention to detail is ever more apparent in the two examples shown above. In addition to the Peyton Mills signage in the background and a glimpse of the 'Received/Shipping' entrance, the boxes with the Peyton Mills logo are being delivered to the Mill. (Not just a few but a whole shipment which had been delivered on the good vehicle shown above).
In a much later episode (420) we are shown what a thriving environment the Mill provides for local employees. I love the prop boxes (all suspiciously light) which give this segment of the action some authenticity!
In episode 420 we witness Norman Harrington (Christopher Connelly) and Dr. Mike Rossi (Ed Nelson) deep in conversation about the state of Rita's health and heading for a coffee stand (on the right of them); to the left the Mills part of Peyton Mills is clearly visible on the warehouse entrance. The backdrop is the biggest giveaway, it is part of Stage 9 of the dedicated Peyton Place Lot. I would also hazard a guess that the mobile coffee stand pictured was actually there for the crew to use, thus adding 'freebie extras' to the scenes.
Page refreshed : 25th November 2021 (G)