Guillaume Musso's Central Park opens with Paris police officer Alice Schäfer waking on a bench in New York, handcuffed to Gabriel Keyne, a jazz pianist she does not know. Alice remembers being in Paris and Gabriel remembers Dublin. Blood stains her clothes, a bullet is missing from her gun, and neither can explain how the pair crossed the Atlantic or became physically linked.
Their attempt to reconstruct the missing hours turns the city into a field of clues and misdirection. Alice approaches the mystery through police procedure and a history she is reluctant to disclose; Gabriel's account is harder to place. Each new fact changes the apparent relationship between them. The urgency comes not only from pursuit, but from uncertainty about whether either person's memory can be trusted.
Musso builds the thriller around disrupted identity and the desire to impose sequence on traumatic experience. The improbable awakening is a mechanism for bringing private histories into collision. Suspense persists because explanation itself remains unstable: Alice and Gabriel must determine what happened, but they must also decide which parts of their own stories they are prepared to recognize.