Sometimes, it is best to begin at the end.
Angel Hands, by Cait Reynolds, begins at the end of The Phantom of the Opera, revealing, for the first time, the true story behind Leroux’s fantastical tale and the real fate of the Phantom himself.
When the Opera de Paris is purchased and renovated, years after a mysterious fire nearly destroyed it, the Phantom finds himself unexpectedly resurrected – in the form of a young boy hired by the manager’s daughter to play pranks on the cast, crew, and audience. After all, the return of the infamous “Opera Ghost” can only be good for ticket sales, and Mireille Dubienne is determined to see her father’s investment become profitable.
Plain, shrewd, and proud, Mireille pours the rage of her disappointed hopes and looming spinsterhood into helping her father manage the Opera de Paris and making it a success. What she doesn’t count on is the real “Opera Ghost” deciding he no longer wishes to be an understudy in his own domain, the theater that Mireille believes is hers.
The Phantom and Mireille push each other to the limits of their cunning to control and manipulate each other, with no game too low to play. With each passing day, the stakes get higher, until surrender is no longer an option for the Phantom or Mireille.
Every trick and betrayal drives them toward a startling truth that will change more than one life forever: you can’t love what you hate…but you can desire it.