By a dumping and a need to 'grow' respectively, Tim and Daisy find themselves in urgent need of accommodation. Via a fluke meeting in a café, their paths cross and the hunt becomes a tandem affair. In a final, desperate attempt, they pretend to be in a long-term relationship (and to have jobs) to win the right to rent a flat. They succeed. And so the story starts…

Part One
It all starts on the streets. Looking up, all doe eyed, is the peroxide spiked Tim, pleading with Sarah, his (now ex) girlfriend not to end their relationship. He hurls himself upon her mercy, appealing to her at the upstairs window that he isn't as unemotional as she thinks and that even Terminator 2's ending had him crying like a child. But it isn't that at all. She has fallen for someone else, Duane Benzie, a friend of Tim's and Sarah's boss. And so, with a slam of her bedroom window, it's all over. Not only has Tim lost a girlfriend, he's lost his home.

Simultaneously, looking down on a different pavement, with big blue eyes, Daisy is explaining her way out of an indiscretion. The guy on the street seems' ok with his pay off, but to Daisy it signals a new era in her life. She's got to get out of this squat and back into the real world where writing jobs roam free.

Daisy's looking for some where to sit in the café and Tim's table has some free seats. As she's sitting down, Tim asks her what she looking for. After a little confusion with drug dealing, Daisy explains that she's flat hunting. Funnily enough, so is Tim and so, they continue to look through the classifieds in search of a place to lay their metaphorical beanie.
At the height of their mutual low, Daisy spies an ad for what seems like the perfect flat:
"Spacious two bedroom apartment, fully furnished, 90 quid a week"
Salvation! At last her problems are solved!
"Professional couples only," adds the notice.
Disaster! But Tim suggests that she pretends with a homeless male friend, little realising he fits the bill all too well, and so, the plan is born…

They have to learn everything about each other; their fears, their aspirations, their lives, their underwear habits, EVERYTHING. Here we learn a lot; Daisy's writing ambition and dossing reality, Tim's cartoonist dream and comic shop assistant existence, Tim's love of Gillian Anderson, Daisy's boyfriend who is studying in Hell… ermm… Hull, their family histories, scars and allergies.
We are also treated to glimpses of Tim and Daisy's Respective best friends, Mike, who is a 'weapons expert' and Twist, who's 'in fashion'. After this brief sojourn down memory lane, they slip into the roles of Andie McDowell and Gerard Depardieu and create their own little photo album, in the hope of illustrating their faux union of five years, eight months and three days.
Armed with the knowledge and wad of Polaroid's, they're ready to hit the door of number 23 Meteor Street.

The door is answered by the forever - inebriated landlady, Marsha, trademark fag in hand. After their introduction as 'a couple', the duo are lead upstairs and into the kitschness of their future abode. Avoiding the cupboard-based bob a job twins and iffy questions about bringing new lives into such a world, Marsha sets down to interview the two bags of nerves.
Convinced that they are both working and a couple, Marsha gives them the keys and the real story begins…

Part Two
And so here comes the move, some two days later. Saying her drawn out goodbyes to people who are, to be fair, in an advance state of catatonia, Daisy has pulled together all her stuff and is taxi - ferrying it down to her new home. Meanwhile Mike is helping Tim pack his belongings into the back of his camouflage van. His goodbye to Sarah is equally painful, with her baiting Tim to admit that he still loves her. Her vanity appeased, the door is finally closed and he travels to join Daisy at the flat.

As they unpack, the couple get to know each other more and more. Investigating a strange noise, Daisy comes face to face with Tim's other persona, the big green monster suit. As it falls on her, her screams bring Tim running into the room. She explains her nosy intrusion into his belongings with recollections of Scooby Doo. As kids they were always Freddie and Daphne. Just look at them now…

So, in a reefer and tea-fuelled stupor, surrounded by their boxed up lives, Tim and Daisy sit on their sofa and talk. Tim explains to Daisy the idea behind his own comic creation, 'The Bear' as well as his arch nemesis 'Doktor Mandrake'. In a moment of awe, Daisy asks Tim to take out the rubbish and, handing him the key, tells him he has to take it downstairs.

As he comes to the door, Tim drops the key and, bin bags in hand, struggles to pick it up. Suddenly, he feels a presence and looking through an open door, calls to see who's there. Striding towards him through the darkness, dressed only in a wicker Stetson and cowboy boots, Brian introduces himself, as only he could.

With his new discovery in tow, Tim returns to the flat to introduce Daisy. After it's confirmed that Brian only rents downstairs in one sense of the words, Tim and Daisy ask him to stay for a glass of wine. An hour later, they're discussing what they 'do'. Brian, it emerges, is an artist. He paints… Anger… Fear… Pain… Aggression… but not watercolours.

Suddenly, the door upstairs slams and someone runs into the night. It is, Brian informs us, Amber, Marsha's daughter. There's a knock on the door. It's Marsha. Tim and Daisy obviously have asked what's the matter, against Brian's better judgement, as she stays for ages. Her husband left her for the dog it appears.

Tim's nap is then rudely interrupted by the phone. Shouting the name of his recently separated significant other is somehow wallpapered over, but now Daisy has problems of her own. The phone call is from her Hull - based love monkey, Richard. She explains that she can't really talk because of her guests but he still insists on their ominous sounding Dukes of Hazzard - esque pet names. Somehow, this too is not picked up on by Marsha, probably as she is a full three sheets to the wind. Disaster averted until they inadvertently say that they have been going out for five years, eight months and three days. This is explained away with them having two anniversaries. One for when they were physically intimate, the other for when they first kissed. Unfortunately, theirs appear to occur in that order.

However, all is well as Marsha is, by now, way too drunk to even care and leaves in a cloud of smoke. Brian, waiting for the sound of the upstairs door closing, swiftly makes a break to his own sanctuary and so, Tim and Daisy are alone again. Making their excuses, they go to their rooms. But, as sleep descends on number twenty-three, Tim sneaks back out to retrieve his well-worn Gillian Anderson grot mag…