October 21, 1990.

  In the dimly lit hallways of Disney's headquarters, Michael Eisner be seen walking hurriedly. While the pany known for its iic mouse emblem might appear to be a realm of i childlike woo the public, its lively ambiance deceive many. This board meeting carries strong political uones and serves as a stage for strategic public retions maneuvers among executive figures, promi pany members, and the shareholder board.

  The pany is uhe guidance of Frank Wells, one of the most seasoned individuals in the industry sihe early 1990s. One of his notable strengths is his adeptness at acquiring and merging panies without burdening the pany with excessive liabilities. strug a corporate empire requires adept individuals capable of navigating through a plex bureaucracy.

  In the realm of impending decisions, a CEO's signature is all that's required to purchase anything valued up to 50 million. However, all purchases exceeding this amoue to 1% of Disney's total value as a studio.

  The beloved Roy Disney, who is on the verge of succumbing to the pressures of the business world that he's unfamiliar with, and his overfiden established norms, may have itted one of the gravest mistakes arepreneur make: resting on his urels. When one finds themselves in a small pool of sharks, such as the corporate world, Mr. Frank Wells emerges as a patient and generous man who has skillfully tamed the ambitions of the g board. His business a has gradually enabled him to build his empire, reinvigorating Disney's animatioor, expanding its theme parks, and diversifying its eai portfolih movies and television els.

  Oher hand, Michael Eisner is the cold bde that gleams in the darkness. trary to the rumors surrounding him, he is not an irrational or irate maends to unicate in a very direct, cordial, and friendly manner. However, it's in his retaliations that people lose sight of his humanity. Surprisingly, for those on the receiving end of his ire, it's best to liken him to a mae. If one is seeking someone capable of strategically quering the selective market through the acquisition of various pahen Eisner is the suitable didate.

  In this era, such vengeful behavior is nnized, and now he is seen as a det guy, someone who bring miracles. He arrived during a dark period and in that time, he untangled deep pitfalls and initiated the era of pany acquisitions. One of his first major moves was the merger with the Jim Henson pany, the very creator of "The Muppet Show." Unfortunately, this merger was quashed due to the founder Jim Henson's passing, but that was a circumstance beyond his trol. His acquisition was Miramax Films, a distribution pany, which fell into the hands of Michael Eisner.

  Enced by Roy E. Disney, he reached out to Ray Watson, a friend of his, and vinced him of the impact Pixar could have on Disney. Simirly, he sulted Jeffrey Katzenberg, who was in charge of the animation studios. Katzenberg timistiimator who saw potential in 3D animation with its imaginative designs. However, the topic was met with skepticism by the executives, and they viewed the future with cautioheless, Katzenberg had some e with John Lasseter before he was fired, which still stings to think about.

  The board's rese ot deny the valid ideas that Disney gee. Proposals to acquire new panies are discussed daily, but actual purchases only materialize wheop executives give the go-ahead. Last year's financial gains were more than enough to i in several panies.

  Pixar has triggered rese, especially after beied by Steve Jobs and acquired by Lux Animation. The name alone sends a clear message: they want to challenge Disney in the realm of animated designs. This small pany ow be sidered a thorn in Disney's side.

  Ideas to ter this are being mulled over. They're pting a forceful acquisition attempt. The "friend of a friend" could bee the enemy. They held discussions with Warner, one of the major tributors to the ic book industry's excessive growth. They're sidering a joint future purchase of a ic book pany. Disney would start with a gradual, short offer. If any missteps occur, they would quickly manipute the press to tarnish its reputation. Later on, Warner would ehe fray and attack its share of the pie.

  Warner desires Lux ics, while Disney wants Lux Animation, whicludes Pixar. The iatios two challenges. Firstly, this is a privately held corporation driven solely by private capital. Sedly, they're in the dark about certain financial bances. Multiple iions with the IRS and some ating maneuvers are underway due to the pany's excessive growth, raising some doubts. There's also a desire to exert signifit tax-reted pressure.

  -We've got almost everything in pce, Frank. We're just waiting for any missteps. Warner doesn't give much credit to the pany led by a youhey'll support us as long as we don't bid for the ic book pany, - said Phil Lader, Disney's Executive Vice President and General sel.

  -What's your take, Michael? How should we proceed? - asked Frank.

  -As a family-owned pany, the father and sohe sole bosses. Only immense pressure ge the father's mind to allow the purchase. If we py our cards right, acc to eialysis, the pany will face a financial downturn in about four years. The disproportionate growth of the business is unsustai will need iment sooner or ter, - stated Michael Eisner.

  -We could target their business. What's nifi San Jose? We attack their ic book sales businesses, - suggested Ray Watson.

  -They have a four-year tract that expires in 1992, - Phil chimed in.

  -Dark Horse ics won't budge easily, but we stir up Mike Richardson. He's ahusiast. If we close the doors for Lux ics' distribution, it'll be a big blow, - Eisner proposed.

  -Let's do it, -- Frank Wells agreed. -- Phil, what do you think? You know the pany's details. -

  -I try to sway Mike Richardson, but it will e at a cost. He'll want something of simir value. His colboration with Lux ics is beneficial. Only something of equivalent worth could make him dissolve the tract. However, we might have to give up a sizable portion, - shared Phil Lader, Executive Vice President and General sel.

  -Do whatever it takes. I want the ipany to be without a distributor within a year, as far as our s go, - stated Michael Eisner.

  -The luxury of Hollywood indeed be dangerous. We have some other ideas, - added Frank Wells.

  -Well, Warner wants to maintain a good retionship with us. They've informed us that they'll suffocate payments, nullify the tract with legal loopholes, and so on until the retionship bees unsustainable. If they don't make much money, sooner or ter ic book sales will dee or they'll make a mistake. We're not in the '50s anymore; that business is already lost, - shared Ray Watson.

  Phil Lader and Ray Watson are like grass snakes often utilized by the big Hollywood gorils for their bes. These men are a research, ma, and advisory team. They keep an eye on new news, businesses, or the ing tomorrow.

  They identify potential threats that could cause disruptions or future gains. Emerging panies are treated with harassment, reje, and ck of bes. Attag these firms that could fragment the pany's is is something that occasionally happens in Hollywood. As advisors, they possess extensive knowledge and iial tacts both within and outside the industry.

  -Alright, let's move on to the point of this meeting. Disneynd Paris has experienced some protests from the French, - said Michael Eisner.

  The meeting tinued for quite some time. Billy had no idea that his uping years in business would start to dwindle, as he was unknowingly peting against the active sabotage of two giants that were waiting to acquire his pany piece by piece.

  ...

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  I'm already finishing the first arc of the novel, which is more or less up to 112. I have some iing sketches. the phase is the actor's life.