We Solve Murders – Chapter 83: Max Highfield Is Joe Blow
⚠️ Spoiler Warning: This guide contains detailed spoilers for the entire novel. Proceed only if you've finished reading or are comfortable knowing the plot.
Summary
On the flight from St Lucia to Dubai, Steve Wheeler confirms that Max Highfield’s character in the film The Rose of Sarasota is nicknamed Joe Blow – a crucial addition to the evidence against him. The private jet they’re on feels cramped compared to the luxurious ones Steve has grown used to over the past week, and he laments the lack of a private chef. This triggers a reflection on his cat Trouble, who once refused cat food after tasting roast chicken; Steve realizes his own standards have been permanently raised, and he accepts that he’ll never enjoy ordinary air travel again.
Rosie D’Antonio teases Steve about becoming spoiled, though she too notices the jet’s shortcomings. They discuss how to approach Max Highfield. Rosie suggests pitching a film idea to him, leveraging her fame as a best-selling author. The conversation turns to the danger they still face: Eddie Flood might be trying to kill Rosie, and Vasiliy Karpin could appear in Dubai. Steve admits he hopes no one kills Rosie, which Rosie jokingly calls the closest he has ever come to flirting with her.
Steve and Rosie share a vulnerable exchange about loneliness and aging. Rosie acknowledges that as she gets older, fewer friends remain, and death feels ever closer. Steve, who recently confessed similar thoughts to his late wife Debbie, assures Rosie that there are still friends to be found if she wants them. Rosie asks if Debbie would have liked her; Steve says she would have loved her. Rosie expresses a desire to catch François Loubet but admits she’ll be sad when the adventure ends. They briefly speculate about what Amy and Jeff will do next, and whether Jeff can be trusted. Steve wonders if Max Highfield might be Loubet himself, but Rosie dismisses the idea because of Max’s apparent lack of intelligence. Steve continues to puzzle over Loubet’s true identity, and as he sprays a lavender mist on his pillow, he realizes he will miss the thrill of the chase.
Key Events
- Steve watches the first eight minutes of The Rose of Sarasota and notes the nickname “Joe Blow,” confirming Max Highfield’s involvement.
- Steve compares his own elevated expectations of luxury travel to his cat Trouble’s refusal to eat cat food after tasting roast chicken.
- Rosie and Steve discuss how to reach Max: Rosie might pitch a movie idea.
- The pair reflect on loneliness, aging, and mortality; Steve shares a moment of vulnerability.
- Rosie questions whether Jeff can be trusted; Steve considers the possibility that Max Highfield is François Loubet.
- Steve accepts that he will miss the adventure once the case is solved.
Character Development
Steve Wheeler shows self-awareness about how quickly he has adapted to a life of private jets and exclusive access. His analogy with his cat Trouble reveals a man who recognizes personal change, even if he finds it amusing. He also demonstrates growing emotional openness with Rosie, offering comfort about loneliness and admitting his own fears about death. His bond with Rosie deepens into a genuine friendship.
Rosie D’Antonio, usually self-sufficient and guarded, reveals her vulnerability about being alone and the dwindling number of people in her life. Her joke about Steve “flirting” masks a real desire for connection. She remains sharp-witted and focused on the case, but this chapter adds layers of melancholy and humanity to her character.
Themes, Symbols, or Motifs
- The Cat Food Analogy: The story of Trouble refusing cat food after tasting roast chicken serves as a symbol for how new experiences can permanently shift one’s expectations. Steve applies this to his own newfound taste for luxury, but it also hints at how the adventure itself has changed him.
- Loneliness and Mortality: The discussion between Steve and Rosie about friends dying and the prospect of being killed by Karpin touches on the themes of aging and the inevitability of death. Both characters confront their own mortality, but in different ways—Steve through quiet acceptance, Rosie through a moment of dark humor.
- Trust and Deception: The uncertainty about Jeff’s loyalty and the ongoing riddle of François Loubet’s identity reinforce the novel’s central tension: in a world of influencers and hidden motives, not everyone is who they seem.
Why This Chapter Matters
This chapter solidifies a major piece of evidence against Max Highfield, confirming his alter ego “Joe Blow” and linking him to the influencer recruitment scheme. It also deepens the emotional resonance of the story by giving Steve and Rosie a private, vulnerable conversation that humanizes them beyond their detective roles. The cat-food analogy and the reflections on mortality add thematic weight and prepare readers for the eventual climax. The chapter sets up the next steps in Dubai, raising questions about how they will trap Max and whether François Loubet will finally be unmasked.
Study Questions and Answers
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What does Steve’s comparison of his spoiled attitude to private jets with his cat’s refusal to eat cat food suggest about his character development?
Steve realizes that just as Trouble can no longer be satisfied with ordinary cat food, he himself can no longer be satisfied with ordinary travel. This shows that his recent high-stakes adventures have permanently changed his perspective and expectations, making him more aware of how experiences shape identity. -
Why does Rosie think Max Highfield cannot be François Loubet?
Rosie points to Max’s lack of intelligence: he hadn’t heard of Ukraine and thought Princess Diana was a fictional character. She believes that someone masterminding a complex international crime operation, as Loubet appears to be, would need to be far more clever and knowledgeable than Max seems to be. -
How does the conversation about loneliness contribute to the theme of mortality in this chapter?
Steve and Rosie directly address the fact that people die, especially as one ages. Rosie’s comment that “everybody dies” and her half-serious wish that Karpin might kill her highlight a fatalistic acceptance of mortality. Their exchange makes the case itself feel more urgent and personal, as both characters recognize that life is short and that their partnership is a rare, meaningful connection.