Episode 4 of "Only Murders in the Building" kicks off with a voice that instantly resonates, drawing us back into the fold. As Mabel embarks on a quest to scout out fresh apartments in the bustling streets of New York, her motive clear: her aunt's intention to sell their Arconia abode. Little do we know, this prologue seamlessly intertwines with the delightful reemergence of Cinda Canning, her presence a masterful stroke of nostalgia and wit, a playful nod to Tina Fey's endearingly mischievous creation.
Mabel, adorned in a chic white overcoat and sleek black boots, grapples with the daunting monthly rent of a 480 square-foot studio apartment—a staggering $4800, and highly coveted nonetheless. Faced with the reality of no steady income or savings, she reluctantly concedes, opting to "let this one slip away."
Meanwhile, Charles harbors monumental news: Joy, his beloved hairdresser, has made her home with him, marking a seismic shift in his life's landscape. Yet, his exterior composure belies a churning sea of anxiety within. His attempt to disguise this turbulence takes an unconventional turn as he performs a "patter song" for Oliver, a feat that challenges his vocal prowess to the core. Oliver, knowing Charles' limitations, arms him with a script that's more of a rapid-fire information dump than a melody—a rap, of sorts, the last thing anyone would expect from the refined Charles-Haden Savage.
Charles, ever resourceful, finds a creative workaround: he stages an omelette-making routine, his body language and gestures taking the place of vocals. Oliver, amused yet perplexed, discourages this unconventional approach, leading Charles to slip into the realm of "the white room," a metaphorical abyss where performers lose themselves in a momentary blackout, explained by a sympathetic bystander, Jonathan, as a theatrical limbo.
Upon regaining consciousness, Charles awakens to an awkward reality—pantsless and awkwardly perched in a child's basket, a comical yet poignant illustration of the turmoil simmering beneath his composed exterior.
Meanwhile, Mabel's urgency to expedite their investigation was palpable. Charles and Oliver, plagued by distractions of late, seemed to have lost sight of the target, while she remained the beacon of focus. Driven by a theory, she yearned to venture into the theater's depths, convinced that Kimber had poisoned Ben in retaliation for their sordid affair, using her very own anti-aging serum as the deadly weapon.
With Howard granting them access, Mabel and Oliver stepped in, only to be met with a surprise encounter—Kimber, already ensconced in one of the dressing rooms. She disclosed that this space doubled as her cosmetics empire's temporary headquarters, a testament to her entrepreneurial prowess.
As Charles and Oliver delved into Ben's quarters, seeking clues, Mabel engaged Kimber in conversation, marveling at her relentless dedication and multifaceted talents. Not only did she grace the stage but also presided over a thriving cosmetics venture, simultaneously nurturing a devoted online following. This stark contrast with Mabel's lackadaisical work ethic couldn't have been more striking.
Yet, Kimber shattered another assumption, revealing that her relationship with Ben had never blossomed into an affair. Rather, she had sought his endorsement for her serum, only to be betrayed when he withdrew his support at the eleventh hour. In retaliation, she had resorted to "disposing" of Ben's opening night gift—the handkerchief—in a calculated move.
Mabel's countenance fell, momentarily weighed down by disappointment, but her spirits soared anew when Kimber shared the tale of Ben's mysterious "red mark." On that fateful opening night, the sight of it had plunged Ben into a panic, prompting him to frantically summon aid. And to their amazement, the mark had vanished, leaving behind a trail of questions that begged for answers.
Charles and Oliver summon Mabel to Ben's chamber, their voices tinged with urgency, to reveal the words "Fu*king pig" scrawled on the mirror's surface in vibrant red lipstick. Mabel, her eyes scanning the vulgarity, discreetly pockets the incriminating lipstick.
Driven by an unyielding barrage of texts, Mabel decides to confront Cinda, who has undergone a transformation online, adopting a new persona for her adoring fans. She feigns a spiritual awakening, as if her retreat has birthed a serene, self-aware individual, and the adoration has reinvigorated her. To Mabel's astonishment, Cinda proposes a partnership, seeking a replacement for the absent Poppy—more aptly described as incarcerated. Mabel, her "Bloody Mabel" podcast a testament to her prowess, acknowledges Cinda's logic, yet hesitates, even as Cinda dangles the promise of a substantial financial incentive, which Mabel sorely needs.
Charles, meanwhile, is plagued by another episode of his "white room" disassociation, prompting Oliver to intervene, counseling him to confront his feelings for Joy. Oliver suggests Charles ask Joy to move out, acknowledging that he's not ready for commitment. In turn, Oliver decides to invite Loretta out for dinner.
As Charles struggles to articulate his feelings to Joy, a sudden blackout clouds his mind, only to emerge with an unintended declaration that deepens the confusion. On bended knee, he impulsively proposes marriage to Joy, his words echoing through the room. Mabel and Oliver enter the scene just as Joy, misinterpreting the gesture, bursts into elation.
In a stunning revelation, Joy joyfully accepts the lipstick from Mabel's hand, a gesture that subtly hints at her potential involvement in the defacing of Ben's mirror. The air thickens with suspicion and intrigue as the truth behind the scrawl begins to unravel.
