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What Every Cashier

What Every Cashier Should Know: Don't Be a Gloomy Gus! A Womecto Circuit Manual Tells Her Why A person goes to a theatre to be entertained. You can help! Don't be a "Gloomy Gus"! A courteous and pleasant manner on the part of the cashier is important. If she recalls the patron as having been to the theatre before, she should greet the patron in a manner that indicates recognition. The average person is flattered when remembered as a previous patron, and it is a well-known fact that some persons will go considerably out of their way to a theatre where friendly treatment and a pleasant atmosphere is the rule. It's part of being entertained. A human being is subject to many ills and moods; nevertheless, the cashier should endeavor to be pleasant and courteous at all times, regardless of her own feelings. If a cashier is actually too ill to present a bright, cheerful countenance, she should be relieved until she recovers. The patron is not interested in our troubles! Remember—The person calling on the telephone is probably as important as the patron in front of the boxoffice window. I he Wometco circuit of Miami has issued an employes manual which has attracted considerable interest in the industry. Because it contains material of a general nature which can be of service to theatremen everywhere, BOXOFFICE is publishing that section dealing with cashiers and, next week, will have the section on ushers. Mitchell Wolfson, past president of Theatre Owners of America, and Sidney Meyer are co-owners of the circuit which operates in the Greater Miami Area. 1. CASHIER'S BANKS The cashier i.s given a definite amount of cash, as a bank, at opening. She should count this change fund in the manager's office before going into the boxoffice, and again at night with the manager or as.sistant manager upon being checked out. 2. TICKET NUMBERS Verify opening ticket numbers each morning by checking with the previous day's record of last ticket number sold in each price category. 3. RELIEFS Cashiers are relieved for .short periods during the day, and no one other than the manager or the assistant manager is eligible to make the reliefs, unless another employe is specifically authorized to do so by the manager. 4. FOR SAFETY SAKE Keep money in the boxoffice, out of sight. Count the receipts in the office each night with the manager or assistant manager upon being checked out. 5. RECEIPTED VOUCHER Each night the cashier is to be reimbursed from the petty cash fund, for all vouchers paid at the boxoffice during the day. She is to pay vouchers only after they have been properly approved by the manager. All vouchers must be receipted. 6. CASHIER'S OVERAGES, SHORTAGES Cashier's overages or ;hortages, if any. must be shown on the daily boxoffice report. Overages are to be deposited; shortages, deducted from the deposit. Under no circumstances is a cashier, manager, assistant manager, or other employe to make up a shortage or keep an overage. 7. REFUNDS— Refund Pass If the manager is m the theatre he must be called when a patron requests a refund. He is to offer a refund pass to the patron in lieu of refunding the money, and the pass, if accepted, is to be good within 30 days of the date it is issued. Refund passes are not subject to tax when presented later. The tax on that admission was paid when the regular admission ticket was purchased. If the manager is not present when a refund is requested, the assistant manager may issue a refund pass in the same manner. Cash refund: If either the manager or the assistant manager is present, then one of them should handle the refund. If neither one is in the theatre, the doorman and the cashier, after duly determining whether the patron is entitled to a refund, will both sign their full names on the refund voucher after the patron has signed it and received the money from the cashier. The manager approves the refund before it is sent to the accounting department. In the event the patron requesting a refund has lost the ticket stub, write "stub lost" on the refund voucher. Do not get a stub out of the doorman's ticket box, off the floor, or from the next patron to put on a refund voucher. 8. LOOSE TICKETS Tickets punched in error by the cashier must be immediately stamped void and placed in a refund envelope. Under no circumstances is a loose ticket to be sold to a patron. All tickets sold must come directly from the machine or from the roll, according to the type of ticket used. There are no exceptions whatsoever to this rule, and absolutely no one ha.s the authority to grant exceptions. The cashier who sells a loose ticket or has one in her possession is subject to immediate dismissal. 9. TAX ON TICKETS AND PASSES Except as hereinbefore explained, all taxes on tickets and are to be handled in accordance with instructions issued or hereafter issued from time to time by Mr. Sidney Meyer. Required tax must be collected on all passes issued. 10. PENALTIES FOR FAILURE TO COLLECT TAX Any persons who are required to collect admission taxes or any one who admits persons to theatres or places of amusement without collecting required admission taxes, are subject to heavy fines and imprisonment as provided under the existing regulations and laws. 11. COUNTERFEIT MONEY The Secret Service division of the Treasury department sends out notices from time to time in regard to counterfeit bills. The theatre manager should request his bank to give him copies of these notices whenever they are received so that the cashier can be on the alert for counterfeit money. If any bills or coins are presented to the cashier which she thinks are counterfeit, she should be guided by the following instructions: (a) She should put the bill aside and say, "I'll have to ask the manager to change it." Then call the manager, or, if he is absent, the assistant manager. (b) She should be courteous and composed. The person may be innocent. (c) If the person becomes impatient, she should reassure him and state that the manager will see him in a moment. If guilty, he will leave quickly, but if he does remain, the manager should use his best judgment in handling the situation. (d) She should study the person's features; then write a description of him if he leaves. Also take numbers of any cars involved. 12. SHORT CHANGE ARTISTS AND RACKETS Money lost by the public through the shortchange racket runs inlo the hundreds of thousands of dollars each year. Much of this is believed by the victims to be due to mistakes, but in reality much of it is due to the work of short change artists. The theatres always get their share of these crooks. The actual methods u.sed are too many and varied to explain here, but it .should be remembered that their success depends upon confusion; by fast talking and skilfully manipulating money, that is, by laying down one bill and after the change is offered, handing the cashier another bill, then asking for certain change and finally so thoroughly confusing the cashier that she does not know exactly what she is doing. Two confederates may be working together and the second man may be next in line, demanding a ticket or asking the time of the show, thus further confusing the cashier. Curiously enough, the intelligent type girl is by far the easiest victim. For one thing, she dislikes to offend a 22 BOXOFFICE :: January 10, 1953

Do's and Don'ts for Cashiers Don't read for your own amusement while on duty, nor manicure, chew gum, fix hair, apply cosmetics nor eat anything Do be alert, ready to serve patrons. Don't make refunds on your own. Do call the manager or assistant when a refund is requested. Don't count your money near the boxoffice window. Do count the money in as unrevealing a place as you can. DON'T SELL LOOSE "nCKETS. Do take tickets issued and put them in the refund envelope supplied you. Don't allow large amounts of money to accumulate in the boxoffice. Do give extra money to the manager or assistant as soon as it accumulate,':. Don't give boxoffice information to anyone except the manager or assistant. If some one phones for this information be absolutely certain it is someone entitled to the information before you give it. Don't be glum. Do have a smile on your face and in your voice when you say "Thank you" and "How many, please?" Don't put bills for which change is being made out of sight of the patron until the change is given and patron satisfied. patron, and for another she is accustomed to handling money fast. She has confidence in herself and proceeds without suspicion or hesitation. Whenever a cashier becomes confused she should simply return to the patron the original bill, take back her change, hold the ticket, and start over, never attempting to handle or adjust two bills at the same time. If a cashier suspects a patron to be a short change artist, she should immediately notify the manager of her suspicion. 13. LOCKED DOORS As a precaution against holdups, the boxoffice door must be locked at all times. No one is permitted to enter other than the manager or assistant manager. 14. MISCELLANEOUS Close the boxoffice statement in the manager's office. Do not out this report in the boxoffice. Do not mix personal funds with company funds at any time. The manager or assistant is instructed to remove all surplus cash from the boxoffice at regular intervals. However, if cash accumulation should amount to over $100 at any time, the manager is to be notified by the cashier to that effect. Lead United Artists Drive NEW YORK—The Philadelphia, Detroit and Montreal exchanges took the lead in the first week of the United Artists' Bernie Kranze drive for new sales, billings and liquidation of contracts. Do keep the bills for which change is being made in plain sight of the patron so that there can be no argument about the patron having given you a bill of larger denomination. Don't sell tickets to obviously intoxicated persons. Do call the manager or assistant if an intoxicated person persists. Always give accurate information as to the time schedule. When patrons leave children at the theatre and ask you when the children will get out so they can pick them up, add five minutes to the time you give them so that the children will be out and waiting. This prevents congestion of parked cars at the entrance. Don't ignore a child's question. Give him the same attention you would an adult. Keep police and fire emergency phone numbers posted handy for use in an emergency. Never argue with a patron. When there is a misunderstanding, call the manager or whoever is in charge. When closing the boxoffice, cashiers should be cautious. The manager or assistant should walk a step or two back of the cashier, and a doorman or usher should keep an eye on both until they are in the manager's office. Film Salesmen Colosseum Pledges Eisenhower Aid DALLAS—Services of the 1,200 motion picture salesmen "as your agents in any endeavor you may undertake" was pledged to President-Elect Eisenhower by Raymond W. Wild sr. head of the Colosseum of Motion Picture Salesman of America. In a letted' addressed to the incoming President, Wild wrote in part: "The leaders of the motion picture industry have always thrown open the doors of thenfacilities and manpower whenever our country had need of their services. In event of such need the heads of the companies who employ us call upon the film salesmen of the country to do the leg work. "We are proud and happy to have served in the past in the selling of war bonds, the promotion of blood donations and the di.stribution of government films to all the towns and cities in these United States. "You can depend on the 1,200 men that cover each city and hamlet of this great country to be your agents in any endeavor you may undertake." KSWB. Yimia. Autry Station Joins CBS Radio Network NEW YORK—Station KSWB. Yuma. Ariz., owned by Gene Autry, will become a CBS network affiliated January 12 as a bonus station to KOOL, Phoenix, according to William A. Schudt jr., national director of station relations. KSWB is a new station. It will operate unlimited time on 1.240 kilocycles with 250 watts power. 36 FILMS FOR THE YEAR $22 Million for Fox Production in 1953 HOLLYWOOD— Constituting a smashing vote of confidence in the future of the motion picture medium Darryl P. Zanuck, 20th Century-Fox vice-president in charge of production, disclosed blueprints for a 36-picture filmmaking program during 1953, including seven Technicolor su- The per-specials. agenda, Zanuck said, is indicative of his company's plan to concentrate on "the kind of topflight entertain- Darryl Zanuck ment that cannot be remotely approached by any other medium " The seven top-budget Technicolor ventures, representing an aggregate outlay of more than $20,000,000, are regarded by the production executive as the biggest group of pictures of such magnitude ever undertaken by any company in a single year. They include his personal production. "The Egyptian." as well as "The Robe," "Prince Valiant," "The Story of Demetrius," "King of the Khyber Rifles." "There's No Like Show Business" and "Sir Walter Raleigh." Among other properties definitely .slated for the .sound stages during the new year are "A Man Named Peter," "How to Marry a Millionaire," "The Reno Brothers," "All of Me," "Gatling Gun," "Happy Scoundrel," "The Kid From Left Field," "The Twelve Mile Reef," "The Proud Ones" and "Mock the Midnight Bell." They will be supplemented by other films now in various preparatory stages. Zanuck additionally cited the 20th Century- Fox backlog of completed but unreleased product, including "Niagara," "Call Me Madam," "Destination Gobi," "The President's Lady," "Fight Town," "Tonight We Sing." "Man on a Tightrope," "Taxi," "Baptism of Fire." "Titanic," "Sailor of the King," "The Desert Rats," "Powder River," "The Farmer Takes a Wife," "Gentlemen Prefer Blondes" and "White Witch Doctor." Free Para. Short to Aid Rosemary Clooney Film NEW YORK—Paramount is offering exhibitors free a seven-minute Technicolor short subject titled "Meet Rosemary Clooney." Miss Clooney, a radio, television and recording singer, stars with Anna Maria Alberghetti and Lauritz Melchior in "The Stars Are Singing." Oscar Morgan, short subject sales manager, has arranged for the short to be shown at all feature picture trade screenings. C. D. Struble Dies KANSAS CITY—Cornelius D. Struble. 67. died last Tuesday after a two months' illness. He was a former owner of the Yale Theatre Supply Co., with branches here and in Oklahoma City. In 1927 he became secretary of National Theatre Supply, which post he resigned the following year. He had been in the oil business since. BOXOFnCE :: January 10, 1953 23