"Skip to the end..." The one where Marsha decides to sell the house and Daisy finally gets a job offer.

	Introducing... Amy Darcy and Steven Atholl as the young couple Georgina Beer as the woman next door Alex Lowe as the agent ('Grass' 'The Eleven O'clock show') Reese Shearsmith as Dexter ('The League of Gentlemen') Jonathan Ryland as Cromwell ('Snapshots' 'The Calcium Kid' 'The Bill' 'Strumpet')

	References. The Royale Family (the opening credits) 'The Shining' Loot magazine The London Marathon 'The Littlest Hobo' (the music as Colin runs away) Manchester's gay nightclubs Marvel comics 'Chocablock' (special effects as Mike formulates plans) Judge Dread 'Fatal Attraction' (boiling a teddy bear) 'This Morning' 'Jurassic Park' (shaking glasses of water) 'Robot Wars' 'Trainspotting'.

	First appearance of... Mike driving a tank Brian's art being useful.

	"...thumping tunes, kicking bass..." 'Half the world away' by Oasis The theme tune to the BBC's London Marathon coverage The 'This Morning' theme tune The 'Thunderbirds' theme tune 'How much is that doggy in the window?' 'Want you back' by Take That 'Fock Da Brainhole' by The Bluetones 'Babe I hate to go' by John Denver 'Mu-Tron' by The Superfurryanimals 'The Staunton Lick' by Lemon Jelly.

	"...a super race of mice-spiders..." Tim imagines apologising to Marsha "Marsha, they say the family of the 21st centaury is made up of friends and not relatives, if that's true then you're the best auntie I've ever had." They then lean closer for a hug, then closer still and begin to smooch. Tim quickly snaps out of his fantasy with a shocked look on his face "Yeargh!" . Daisy appears, at one point, to be having a lover's tiff with Colin. He merely lies on the chair looking at her while she gets his food out of a can and asks him where their relationship when wrong. This girl has serious emotional problems.

	And I quote... Daisy: "They say the family of the twenty-first centaury is made up of friends and not relatives. Then again, maybe that's just bollocks." Tim is trying to persuade Daisy to break into Marsha's room: "Do you wanna be homeless? Do you wanna have to go out and buy Loot every morning? Do you wanna see what Marsha's room looks like?" Bingo. Tim: "I am the only one here who's capable of serious communication; sorry that sounded bad I didn't mean to suggest that you're not good communicators, Mike?" Mike: "Yers." Tim: "Brian?" Brian: "Mnmnmn." Mike: "Get your boom-box and let's rock!" Tim: "Skip to the end..."

	"What a bitch". The estate agent tells Tim that he's sure Marsha will fill him in on the details of the house sale; Tim replies, "You'd think so." When Daisy sees Colin escaping out of the back garden she wants to go after him, Tim tells her to "... sod Colin" and then asks her "When did you start giving a shit anyway?" , harsh but true. I don't know what anyone else thinks, but isn't it a little bitchy of Tim to assume that Daisy wants to come back and live with him in Meteor Street rather than pursue her dream of becoming a journalist. Now I know that Colwyn Bay is in Wales and although that fact alone should be enough to justify his behaviour, the girl isn't getting much of a break in London. Is this another example of Tim and Daisy holding each other back in their careers? See 'Finally, a word from your author' below.

	Give that man a BAFTA There's a great directorial moment when Mike complains, off camera, about his rabbit being dead while Daisy laments their failure to get Marsha to come back to Meteor Street. Edgar Wright notes in the commentary, and I agree, that this would not have been half as funny if the camera had cut to Mike.

	"Do you rent downstairs?" Twist apparently likes to go and hang out in gay bars in Manchester. Marsha was thrown out of the Hells Angels in 1982 for "... lewd behaviour." Sophie tells Tim that when she is working in America they can have sex on the internet, "That's what I was doing before." Says Tim. Tim then asks her what she has planned for the next 13 hours before her flight, Sophie cocks an eyebrow... In the morning Tim's fetish for women's clothing is visible again, he wakes up with make up and frilly pants on. Look at what Twist is miming in the gay bar in the final montage, I'll leave you to make your own minds up.

	"Today's youth... okay young adults." Once again the most important division in the lives of the occupants of 23 Meteor Street is age. The episode opens with a young couple being shown around the house (as Marsha is trying to sell it), the scene is a carbon copy of the scene from episode 1 in which Marsha showed Tim and Daisy around. Daisy is more interested in the fact that the couple are younger than her than the fact that her house is being sold from under her feet "Excuse me," asks Daisy "how old are you?" "I'm 25 and my wife's 24." Daisy: "Really?" "Yes" Daisy: "Bloody Hell." She then turns to Tim after they've left: "They were younger than us." Tim: "Only physically." Later in the episode Daisy's fear of the older generation raises its head, an old woman has enticed Colin into staying with her by tempting him with a wide screen TV. The old lady, played by Georgina Beer, is wonderfully scary and embodies the fear that a lot of the youth have for the older generation.

	Tim and Daisy sitting in a tree... In Daisy's letter to Tim, in which she explains her reasons for moving out, she uses the phrase "I'm feeling a little confused." This is the same thing she tells Tim to watch out for when he plans to meet Sarah at the end of the first series, she says that it is almost a kind of emotional blackmail by ex-girlfriends. The series' final shot is of Tim and Daisy sitting cosily on the beanbag in their front room.

	"Ooh Mamma!" In the opening credits Daisy and Tim are sharing a splif, Marsha is drinking two glasses of wine. Later we see Marsha coming back to Amber's house from the shops; "Mum, where've you been?" "Shopping, we've gotta drink aint we?"

	"Fuck off Twist!" Daisy tells Colin to "... just piss off!" , she also describes a modern proverb (see 'And I quote...' above) as "... bollocks." Tim says "You've gotta be fucking kidding me?!" to one of Mike's plans.

	"Timmy: fetch me my tools!" Mike's ability to formulate great plans in this episode is accompanied by the noise of cogs turning and electronic beeping sounds, polished off with a microwave oven style 'ping'.

	"Get off your arse!" Daisy has been too lazy to lavish any care and attention on to Colin, as such he is visiting the old woman across the road for attention. Daisy calls the train company at 9am asking for the time of the first train to Colwyn Bay, foolish woman. She's not the only one with very little grasp of travel, Mike describes 'Private Iron' as "... slightly faster than walking." Tim then uses the robot to transport himself to the station just in time to meet Daisy and bring her home. How fast do him and Mike walk? 'Private Iron' isn't going to win any sprint awards.

	"...pull my finger..."

	"Let's play!" Mike twirls his rolling pin brilliantly when he tells Tim and Daisy that he is "... baking." Daisy breaks down the door to Marsha's room with a single high kick. Mike does a commando roll going down to Brian's room, he then motivates Brian by playing him the Thunderbirds theme tune on and telling him he is a man "... let's roll!" , they both do commando rolls into the corridor. Mike returns to Tim's flat and stands with a Steven Segal trademark 'contemplative ninja' hand gesture, "It's on, something bloody spectacular!" They then steal a tank and pay a visit to Marsha to get her to come back to Meteor street (see 'How's that for fried gold?' below).

	How's that for some Fried Gold? Daisy: "Colin's gone; he went next door." Tim: "Oh I'm sorry, how did that happen?" Daisy: "He walked." Tim: "Oh I'm sorry, my Mum used to use 'went next door' as a euphemism for being dead." Mike: "Whoa, are you saying my rabbit's dead?" Tim: "Well it's been 18 years Mike where's you think he was?" Mike: "Next door?" Daisy then runs through all the bad luck they've had recently, "Marsha's gone, Twist's gone..." Mike chirps in from off-camera "My rabbit's gone." The 'grand-theft-panzer' scene, in which Tim, Mike and Brian (with a little help from the TA) steal a tank, make a banner and play 'Take That' hits all to put a smile on Marsha's face, is the most wonderfully touching way they could have brought the series to a conclusion. In a rare moment of genuine emotion, the social pariahs of 23 Meteor Street actually get something right for once. It's a great scene for the viewer too; a really sentimental moment that sticks to the 'Spaced' tradition of marrying the absurd to the mundane.

	"Hawk the Slayer's rubbish!" Posters in Tim's room include 'Star Trek: Voyager', 'The X-files' and 'Judge Dread'.

	"I just think he's a bit pretentious". Brian: "I'm having difficulty vocalising my emotions at the minute so I'm using this..." Our favourite artist is listening to a tape called 'The sounds of despair (volume 4)'. This consists of a long and drawn out series of agonised screams and wails. Tim thinks Brian should be upset about the house's imminent sale, "Why should I be upset about the house" asks Brian "This house is the one thing I can rely on, it's the one port in a storm the one ... thing which isn't susceptible to the whims of love, it's the solid core of my otherwise painful..." [Brian turns the 'Sounds of despair' tape over] "... tortured existence. I don't know what I would do without this friend, this rock, this island of calm in the ocean of life." Oh dear. Later, when Brian is persuaded to leave the flat in order to help find Marsha, he asks if Mike's van has a tape player. It doesn't, "Thank fuck!" says Tim.

	"That was kind of unbelievable." Daisy and Tim have a conversation in the cupboard about the house. Thankfully Daisy asks "Why are we in the cupboard?" Tim say that he has "... no idea." It seems rather unlikely that Sophie would get offered a job working in America completely out of the blue and have to leave on a plane the very next day. Surely she would have attended an interview in the states or at least would have discussed the possibility of her moving overseas with Tim. Colin is much cleverer than anyone would have thought, he is quite happy to live the good life at the old lady's house until she insists on calling him 'Lancelot'. He's back at 23 Meteor street within minutes.

	"Big's in this year." Both Daisy and Tim wear clothes we have seen them in before, he has his greeny-brown coat and beanie cap while she has the red leather jacket and flowery blouse. Twist is wearing her usual brand of outlandish clubbing gear, glittering purple top with a silver crown and massive pig-tailed hair. Mike has an army surplus t-shirt and a very fetching 'strong man' apron when he is seen baking at the start of the episode.

	Finally, a word from your author. Another series of 'Spaced' and another happy ending. So how does this compare to series 1, and how does is shape up in the light of the fact that this is probably the last episode of 'Spaced' that will ever be made? Perhaps unsurprisingly the happy ending in episode 14 is not quite a masterpiece on the scale of the finale to series 1, there a couple of loose ends for which one has to stretch one's imagination in order for them to make sense. Mike is suddenly nice to Sophie, Brian is suddenly having success as a painter while Twist appears to have a sudden attack of conscientious thought. I think that the ultimate message of the series is that friends are more important than a career or money or 'success'; seen in this way, Tim actually saves Daisy from the trappings of a 'career' when he persuades her not to go to Colwyn Bay to be a journalist rather than selfishly preventing her from pursuing her own life. Marsha realises that friendship is more important than money, Twist realises that friendship is more important than fashion and dancing, Tim realises that his friendship with Daisy is more important than his relationship with Sophie. Here-in lies the almost contradictory meaning of this final episode; that the world, for twenty-somethings at least, has changed since the days of loveless marriages of convenience. Now-a-days the 'point' is to find happiness and love in whatever form it comes rather than being restricted to traditional values; Brian loves painting and Mike loves guns, they can get through the highs and lows of life with, as a great songwriter once said, a little help from their friends. "The family of the twenty-first centaury is made up of friends and not relatives" , maybe it's not bollocks after all? Whatever the deeper meaning of the finale, the journey is finally at an end; this tale of the lives of a bunch of directionless 20-somethings has given us laughs and thrills as well as some brilliant quotable lines and a new brand of anarchic post-modern comedy. Quite simply, 'Spaced' was the most innovative sitcom of the 1990s, bringing together exciting direction, fantastic script-writing that drew from a multitude of cult TV and film sources and setting it all against a modern and energetic soundtrack. There will probably never be a third series of Spaced, and that's a great shame. We should none-the-less be thankful though that each episode is a classic of British television and prey that if the series is ever resurrected, this quality will be maintained.