Original subtitles

SONG: ♪ I see you comin' up roses. ♪

SARAH: You guys, what do you think we're doing today?

- Oh, my goodness! - Oh, my God.

JUDGES: Good morning!

ELIZABETH: Hi. MAURICE: Alright!

Lutfi, are you actually wearing anything beneath that apron?

There is something here.

Safari chic!

Fabulous florists, today our captain for the red team

is Rachel

and captain of the blue team is Canaan.

Rachel, how do you feel

about stepping up as captain this go round?

Finally! It's about time.

- OK! She's ready! - She's come through.

Canaan, are you going to win this today?

I know what I want today. I'm ready to win.

Alright. I am ready to see this unfold.

SIMON: Each team will florally adorn these large frames

that come together

to form a picturesque and layered landscape.

Mmm.

Perspective is everything in this challenge.

Oh, I see.

Each flowered slide will be a new layer in the landscape,

making the background, the middle ground...

..and the foreground.

Once pushed together they will create your complete scene.

Wow, that's cool.

You will have your choice

of the sun-drenched desert landscape

or the enchanting underwater seascape.

Canaan, you had first pick in the team selection

which means Rachel, you have first pick

in themes.

I'm gonna have to go with the underwater seascape, I think.

(CONTESTANTS EXCLAIM) RACHEL: Yeah.

- Good choice. - Mm-hm.

SIMON: Canaan, that means your team is creating the desert.

ELIZABETH: We're going to be judging

how well you execute your theme,

incorporating plants and animals native to your scene

to bring it to life,

and how you compose the layers

to create depth in your landscape or seascape.

And the losing team

will compete in tomorrow's solo challenge,

where one of you will be going home.

Fabulous florists, you will have four hours

and your time...starts...

..now.

RACHEL: OK. OK, OK, OK.

Alright, so I really want to create like a cave situation

so this is the openness of it.

This is a great opportunity

for the coral to be used up front.

I'm going to grab the spray-paint

so I can start to mark it out. I'll get my gloves.

RACHEL: And then after that we should cover the back one.

- That's the most coverage. - Absolutely, I agree.

We're gonna create a really...wonderful...

..magical blue ocean here with all the hydrangeas.

My idea right now

is to feel like you're at the bottom of the cave looking up

so each slide is a different color,

it's a different dimension.

I wanted to create that feeling that you get

when you sink into the ocean.

I want to sketch a little something.

I'm not a good drawer but we're gonna make it happen, OK?

So, you know, we have three frames to do.

I want to do a sun situation. Any ideas?

I think... Well, there's so much yellow,

there's all these textures.

Are we thinking

that we're gonna do mountains or are we gonna...

CANAAN: I think we need to... - We should do red rocks.

The vision, we're giving you desert,

we're gonna give you succulents,

we're gonna give you color, dusty, all at the same time.

Teach to us, 'cause you're from this area.

MELISSA: They're hilly...

I'm from Georgia.

I have never even been in the desert.

But you know, my girl Melissa is on my team.

She's familiar with the desert, she's from Arizona.

We got this.

Come with me so we can map this out.

MAURICE: I've always loved dioramas.

This was always like my favorite project

in elementary school

so I'm really excited to see how this comes together

because you can create such dimension.

I really want to see our florists

utilise those lovely sliding frames

and give us a proper sense of depth.

Do you think the moss is necessary?

I think the moss is important for the blues and the greens.

What's more important?

- Hydrangeas. - Yes.

In an hour and a half I want to be mostly done with this.

You got that. OK.

I want Sarah to finish the octopus...

(LOUDLY) ..as fast as possible.

- About an hour on the coral. - An hour on this.

One person on coral and then two of us on zapping.

- Keep going. Keep going. - Cool. Alright.

So I'm wiring these tillandsia

because I think they have a great texture

and so once I arrange them all together

it's going to be like a super textured octopus guy.

- Rachel! - Hi!

Hi! Oh, my God, you're full of so much joy and excitement.

I love this! I know, it's the most lively I've been.

Yes! Tell me about your vision and how it's coming to life.

Instead of doing like literally under the sea

I wanted it to feel like

you're at the bottom of a cave looking up.

How are you gonna create dimension within that?

Sarah had the brilliant idea

of doing an octopus using the air plants

so that's gonna be on the second frame.

And then to create that depth,

the tentacle is going to be reaching in to the front plane.

You get it? You get it?

Wow!

- Wow! - Do you like it?

- I love it. - Thank you.

It sounds...very difficult.

Just make sure I get, like, kind of a ripple effect.

That's in my mind, yep.

Because that'll really help to give us that illusion

that we're looking up

as opposed to that we're like just looking through.

Through it, yep.

- I can't wait! - Me too!

- Good job, Rachel. - Thank you, thank you.

So I can use this for the sun.

I need to make a sun.

Oh! That's so sick!

Nobody's used this yet and that's what we're gonna use.

Come hold this.

But I think that we should carve the back

so it lays a bit flatter. Not a lot.

I think this needs to sit in the middle.

ANTONIO: Tell me if I need to go over more

or if that's a good spot to wire it up.

CANAAN: I think it's good. - OK.

So we got our Spanish moss here and we've painted it blue.

We're building the sky.

You know, out in the desert, you gotta have some sky.

I'm finishing up the first layer of my sun.

I've used yarrow as the base,

which - it has this beautiful yellow color.

I'm gonna go in next with some orchids and little proteas

and then to kind of finish it off

I'm putting in just a touch of baby's breath

that goes over everything then encapsulates it.

- Well, good morning. - Good morning.

Hello, Canaan. Don't let me stop you working.

- Thank you. I got a lot to do. - You have.

So talk me through

how you're working your dynamic of your team.

Lutfi, he's really good about finessing,

putting things on it.

- Hello. - Hello, Lutfi.

(LAUGHS) Also, I have Antonio, he's good with mechanics.

Also I have Melissa as my anchor

to kind of haul me in on the desert thing

because where I'm from

we have flowers, green, butterflies.

I've never been to the desert so I'm excited...

I've never been either.

So you are going to take both of us to the desert.

We're goin' together. Let's do it!

Can't wait to see it unfold. And I'll see you in the desert.

Thank you.

SARAH: How are we doing?

- Moving faster? RON: Great.

I think we're good.

RON: The mechanics for the octopus, the mechanics for...

- Solid? - Yeah, solid. It's done.

SARAH: I'm getting the coral reef started down here

so here I'm using pincushion protea in orange.

I feel they look like cute little sea urchins...

(LAUGHS) ..just kind of nestled in

so it looks like a little pod family

that you would see.

I'm gonna roll this in so you get an eyeball.

Let me see, let me see, let me see.

Oh, yeah. It's coming.

I'm really focusing on, you know,

the direction of the light

so obviously starting light up there

and then a gradient effect

kind of swirling down layers and layers, like a painting,

is kind of how I'm viewing this.

I studied Fine Arts.

I thought that my life

was gonna go kind of toward like the fashion industry.

Pretty quickly I realised I was, like, so unhappy.

I was sitting at a desk all day

and it just, like, wasn't what I expected.

I discovered flowers by mistake, I always say.

Flowers combined my love for design and composition

and I never thought this was the way my life was gonna go.

- I feel we're good on time. - I think we're great on time.

'Cause I think you all know what I'm trying to do

and we all know what each other is doing.

Yep.

Florists, you have one hour left!

Do you feel me?

Is it making sense? Do you like it?

- I'm trying to think. - OK.

I'm trying to find sense into it.

I feel like we're rushing into decisions

without, like, a clear plan.

Figuring out design along the way

when I'm making with my hands is never good for me

because action without thought, mm-mm.

OK, have you stepped back

and made sure this doesn't look like complete trash?

No, it don't look like trash.

What do you think about those alstroemerias...

- We could stick some in. - ..those tones?

But I think we need to go down a bit lower to this point.

- Yeah, yeah. Totally. - Keep going.

I can't tell who's the leader over there.

We put you as the team leader, Mr Canaan,

because we want to see your vision,

we don't want to see Melissa's, we don't want to see Lutfi's,

we want to see yours.

And I feel like a lot of our florists,

when they're in the leader position,

they're more nerves than excitement.

I really want to go pee at some point.

CANAAN: You can't go to the bathroom till you finish this.

LUTFI: Bitch!

CANAAN: I just want this panel gonna be finished, OK?

SARAH: I feel like it's starting to look

more like a tropical forest than a coral reef.

RON: Let's push the whole thing together

and let's get a visual.

ELIZABETH: I think what Rachel's doing right now

is very smart.

She's putting them together to see where they're at,

to see where they need to continue.

RACHEL: Thank you. You got it, we got it.

What's quite interesting, as well,

is that Canaan has four people on his team

and I would argue that the progress is less advanced

than Rachel, who has three people on her team.

Where's the hanger?

MELISSA: There is one. - Where is it?

ANTONIO: It's at the top. - Where's the top?

- The top is not the bottom. (CANAAN LAUGHS)

- Let go. - Got it. It's good.

I have yet to see those frames come together

to see if they're even working.

Right! Have they not noticed

that these folks have put the frames together

and taken them apart multiple times?

MAURICE: Like, five or six times.

Alright, let's all just take a step back and see.

We need to change the color of the octopus.

He's blending in too much.

Are you gonna do one eye?

Yeah, I was just thinking of what I should use for the eye.

Tulips, the tulips, remember? Reflex the tulips.

- Oh, oh, my God! - Whoo!

Whoo!

RACHEL: Is it doing it for you?

SARAH: This is gonna be the most amazing, insane...

Also, how many more? Do we just want one of those?

SARAH: Just one eye. RACHEL: OK, great.

MAURICE: Hm.

Don't mind me. Just doing a little observing over here.

So it seems like you guys still have a lot of coverage

- to get through. - Yeah.

Red team has one less person and has way more coverage.

RACHEL: Keep going, keep going, keep going.

I haven't seen anyone take a step back to go to your mark

where everything comes together to see if it's working or not

- but you guys are so in it... - Absolutely.

Get some perspective on it.

And I want to see some flowers.

Let's see.

LUTFI: What do you think?

You guys spent all that time

working on that coral piece at the back layer

and you can't even see it

'cause you guys haven't been putting them together to see...

This is the first time you guys have done this.

- Yes. - So with that, um...

- ..good luck. BOTH: Thank you.

You're welcome.

So from here, the back looks pretty good.

It's a little to your left, Ron,

the dark that I see some gaps.

SARAH: Do we need any more coverage down there?

The corner, yes, that left corner, I see a gap.

Otherwise, I think that's great.

Here, Antonio.

We need more cactuses. Come on.

We need to refine what we have instead of adding things.

MELISSA: What's our animal? CANAAN: I'm the animal.

LUTFI: Why don't we just do a centipede

out of the heliconias?

CANAAN: That'll work.

This is one of my favorite flowers.

This is the hairy heliconia. She's really special.

So we're using her to emulate,

like, a centipede crawling in the desert.

She works really well for that.

Florists, you have one minute remaining.

Your final minute.

SARAH: This is where you start feeling

- the pinch of three people. RACHEL: Yes.

I'm just adding final touches so I'm adding more succulents.

CANAAN: Come on, hustle, hustle, hustle, hustle.

RON: This whole front side here is a major situation.

Definitely build that back up because it's flat.

Make that backdrop pop.

LUTFI: Oh, my God.

CANAAN: I'm gonna have a heart attack.

JUDGES: Five, four, three, two, one.

(BELL RINGS)

Time's up. Flowers down.

Thank you, guys, so much!

MAURICE: Wow.

Hey, blue team,

frame up your sun-drenched desert landscape, please.

MAURICE: Yes!

SIMON: OK.

MAURICE: Oh.

Red team, please frame up your enchanting seascape.

MAURICE: Ooh!

JUDGES: Ahhh!

Florists, congratulations to you all

for what you have created.

Well done.

MAURICE: Truly. - Really well done.

Incredible work.

Rachel, you chose the underwater seascape.

How do you feel that you completed everything?

I'm only as strong and successful

as the team members I stand by.

They just blew me away.

I feel like we were moving as one.

ELIZABETH: It was like watching

a well-choreographed dance, honestly,

like the way the three of you were like so cohesive,

it was the flow of water.

It was like watching this and it was really cool to watch.

MAURICE: Your use of color, your use of dimension,

you've incorporated the things that we've asked for

in terms of making sure that we understand it's a seascape.

SIMON: The back wall, that tapestry of hydrangea

that takes us on a journey

from the dark palette on the left-hand side

across and through to the paler shades

just to the right of centre and a little bit of dark again

is absolutely beautiful.

She is a genius.

That was...brilliant.

Your animal, however,

is the one thing that is just like, "Uhhhh".

Like I don't understand those Vandas

that are individually placed and then sprayed.

No, a lot of octopus, they have spots,

and they bring out the spots to camouflage it.

Yeah, too much explanation to get there.

- OK, alright. - Don't see it, don't get it.

The sea anemone is an animal, it's an aquatic creature,

and the proteas are absolutely standing out.

MAURICE: OK. SIMON: So those are creatures.

- You know, I'll give you that. - Oh, thank you!

That actually is one of my favorite parts in the piece

are those proteas that are animals as well.

So, Canaan, what was your inspiration

for creating a desert scene?

So, as you know, I'm from Georgia.

ELIZABETH: Yeah.

I don't know anything about a desert.

- I've been to Vegas... - That's a desert!

..'cause my mom is a Tina Turner impersonator...

SIMON AND ELIZABETH: What? ANTONIO: It's incredible.

(CANAAN LAUGHS)

How have you not led with that!

She's rollin' on the river in Vegas!

You know, it don't feel like the desert.

And so it was kind of different for me

to deal with a cactus and a succulent and different things

so that's why I loved that Melissa was on the team.

We brought it together. And it was teamwork.

SIMON: The front frame layer

is the most beautiful feast of texture, tone.

For me, that is just the most gorgeous, adorable vignette.

- Thank you. - Thank you.

I think the colors you chose are really spectacular,

the sun is beautiful,

but we asked you to incorporate plants and animals

that were native to your landscape.

Can you tell me how you've done that?

Yes. It's a centipede. It's in the middle.

Is it the heliconia that's the same size as the sun?

LUTFI: Yes.

ELIZABETH: It's a Godzilla centipede.

MELISSA: Have you been to the desert?

ELIZABETH: I have! MELISSA: It exists.

That centipede...

Massive centipedes in the desert.

ELIZABETH: OK, go on. MAURICE: Where's its head?

ELIZABETH: It's fine, it's behind the black material.

CANAAN: He's gonna come out itchin'.

ELIZABETH: OK.

MAURICE: Y'all really trying it over there.

SIMON: I think your backdrop still feels a bit primitive.

It's slightly unrelenting moss for me.

Where I find that you guys may have made a misstep -

because you didn't put them together sooner,

you covered up a lot of the work that you had done.

That back piece was so beautiful

but you can't see it.

I can see a bit of it.

I'm getting a lovely kick of orange happening...

That's because you're looking at it at another side

but when you're looking at it at the perfect vantage point

you can't see it at all.

But it's totally finished. Well done.

- It's beautiful. - Thank you so much.

CANAAN: Thank you for your input. Thank you.

Thank you.

Alright. This was a complicated task

with a lot of moving parts

and we have each come to our own individual decision.

My favorite frame belongs to...

..the red team.

My favorite frame belongs to...

..the blue team.

Elizabeth, the tiebreaker!

And my favorite frame belongs to...

..the red team.

(APPLAUSE)

RACHEL: Thank you. - We worked so hard on this.

- Thank you so much. - Oh, my God.

(BLUE TEAM CONGRATULATE RED TEAM)

Rachel, I have to tell you

this is the first time in Full Bloom history

that I have personally been blown away.

- Oh, my God, thank you. (ALL APPLAUD)

You are a person to watch in this competition.

All eyes on Rachel when she walks in the club.

The blue team will face off in the solo challenge

and one of you will be going home.

We'll see you tomorrow.

- Goodnight. CONTESTANTS: Goodnight.

SONG: ♪ My Name Is Thunder

ANTONIO: Work it, girl. MELISSA: Yes!

ANTONIO: No other choice. MELISSA: I've got this!

CANAAN: All three of the competitors

of the solo challenge are my friends

and I really do deeply love 'em.

But guess what?

I'm here for $100,000.

Good morning.

- Hello. - Good morning.

MAURICE: How's everybody doing?

We're here.

Good morning, flower friends,

and welcome back to our courtyard of creativity.

MAURICE: Melissa, you've been in every single solo challenge.

But you always survive!

What do you tell yourself

to emotionally prepare for each one of these challenges?

Well, typically, when I'm raw, um, I design with flowers

and that's kind of my emotional happy place

and so I'm hoping to go there today on this challenge.

We are wishing you

- lots of luck. - Thank you.

- Hey, Antonio. - Hey. How are you all doing?

- You're brand new... - I am. I'm excited.

..to the solo challenge.

Any nerves?

Ah, yeah, totally there's nerves.

I mean, I don't quite know what to expect

but I'm excited to have my own piece that's all mine.

I can't wait to see what you do today.

I'm excited. I'm excited.

Today you are going to use flowers

to re-create petalled pyrotechnics.

We want you to envision

a fabulous floral fireworks display.

OK.

We're going to be judging you closely

on how you create movement

and use color to make your petals really pop

because at the end of this challenge,

unfortunately, one of you is going home.

Florists, you will have two hours

to complete this challenge

and the time...starts...

..now!

MAURICE: Get to it! (ELIZABETH WHOOPS)

MELISSA: No, you didn't! ELIZABETH: Wow!

(MELISSA GROANS) Yes, you did. - Sorry.

I love aggressive floristry.

I think there's been a bunny tail battle in the back.

ELIZABETH: I'm excited for this one, y'all.

I'm excited to see good, proficient floristry skills.

MAURICE: Correct.

And also, it needs to feel dynamic.

MAURICE: That's the word. ELIZABETH: Yeah.

I want these fireworks to look light and magic in the air,

I don't want to see bulky looking design.

And they can make one firework or an abundant display.

Oh, yeah.

So I'm using this tape and wire

to combine this grouping of flowers.

You know, mixing textures and shape and color

is really important.

I have this Gloriosa

which is like a really gorgeous tropical flower.

She has that bright yellow and the red

that I think are so stunning for the fireworks.

In Honduras, it's like a really popular thing

to celebrate with fireworks

so I just thought about my dad

and like really special moments that we had together.

So right now what I'm doing is using this floral tape

which is like a stretchy material.

You have to pull and press.

That's used in like wedding bouquets

or for like corsages or like boutonnières

She's gorgeous.

So my mom was born on the 4th of July.

She always said like, "Oh, all the fireworks are for me,"

and when I was little, little I believed her

because I didn't know any different.

And so I would take my little sisters, who I raised,

to go and see the fireworks

and we would always think these ones showering over

were just her showering us with love.

And so I just tried to really emulate that.

I want some movement

so I'm trying to add some more green hanging Amaranthus.

And honestly, it couldn't be more perfect.

I'm trying to visualise it as I build.

I feel like the yellow and pink are speaking to one another

so I'm just kind of going with my gut.

- Hi, Antonio. - Hey. How are you doing?

- I'm well. How are you? - I'm doin' alright.

OK, let's talk about this magical beast.

I'm a big fan of not using a ton of variety.

I like clustering.

I want your eye to be able just to look at it

and not be like, "What am I seeing? There's so much here."

I don't want a flower bouquet that looks like fireworks,

I want to be like, "What is that?

"Crazy firework? Oh, it's flowers."

Like it's just that other way of thinking about it.

Right.

And you have your own company now?

It's just me.

- What's the name of it? - Transplants.

Transplants. Oh, I love that.

Because I had two kidney transplants.

- What? Kidney transplants? - Yeah.

And you're well now?

I'm as well as I can be.

- As well as it gets... - OK.

..for having a transplant.

So I was sitting doing dialysis and I was like,

"Man. What am I gonna do with the rest of my life?"

I decided, "You know, I'm just gonna keep playing with flowers

"because it is so therapeutic for me."

Totally.

You know, even on days when I don't feel great

I find a reason to wake up and spend time with my family

because life's so short

you just want to, you know, keep on moving on.

Are these gonna be judged from the front

or from every single angle?

All sides. You've got to cover the mechanics.

What?

Bitch!

CANAAN: Bitch, cover your mechanics.

(ANTONIO LAUGHS)

ELIZABETH: You know what I'm looking for?

Like very curated, very careful simplicity.

Here's the other thing.

I also don't want it to look like a funeral spray.

You... Bitch! Get out of my brain.

Oh, is that what you were thinking?

You know it was because you read my thoughts

and then you just say them out loud.

Too small.

- Mr Canaan. - Hey!

- How's it going? - Good, good.

Well, what's your inspiration for what's going on here?

Well, I want to give you color

but also I want to give you precision.

I'm just gonna be honest with you.

You might want to start over

'cause this is looking like a funeral spray to me.

Uh-oh.

There's too many plant materials mixed together

that is just looking like a spray...

Gotcha.

..than the illusion of a firework.

Gotcha.

What are your other creative mediums

that you participate in outside of flowers?

- I can sing. - Stop it.

- Mm. - Give me a few bars.

(SINGS) ♪ Mary had a little lamb

♪ Little lamb, little lamb

♪ Mary had a little lamb

♪ His fleece was white as snow. ♪

OK!

(MAURICE APPLAUDS) - Thank you.

- That was beautiful! - Thank you, thank you.

- So your music, flowers. - Flowers.

I feel like taking a step back

and thinking of how you create in other ways than just flowers

will help you approach this project

and I want you to connect to that.

- Gotcha. - Good luck, Mr Canaan.

- Thank you. - You're welcome.

Maurice told me I have to change it

so I start changing it.

I have a plan and I'm going to keep it moving.

Good morning, Melissa.

- How are you today? - Good. I'm alright, thank you.

- So you work in the desert. - I do.

So your plant material has heft and weight to it.

- Large and in charge. - Large and in charge!

And it's also quite weighty stuff to use

within an arrangement

that needs to give the essence of a starburst.

It is. It is. And I want to do it well.

Well, my advice would be remember this grass.

I mean, that's almost a firework in itself.

Isn't it?

The lightness of that is the sort of thing

that might help to give a sense of explosion

and keep everything as fine and light as possible.

OK. Thank you, sir.

ANTONIO: Beautiful day today. - Stunning.

I love the beard.

- I like your beard too. - Thank you, thank you.

Pardon me! I don't want to interrupt this bromance!

This is how he wins them over!

We're just complimenting each other's beards over here.

Hey, it's just being polite.

He said, "Give me fireworks, not funeral,"

so, oh! I wasn't going for that look.

I took out all my larkspur and I added in yarrow

to give me more of that punch that I need as a firework.

Hmmmmmmm.

Damn it!

I just want to have black stems

'cause I want them to disappear in the air

because I think it's really important

for, like, that illusion of floating in the space.

I should've painted.

What is faster? This is faster?

Or spray-painting would be faster?

Maybe I shouldn't care about the illusion.

Or should I?

OK.

Florists, florists, hey, florists,

you've got 30 minutes left, OK?

Shit!

So at the moment,

it seems like all of the florists apart from Lutfi

are having a crack at a second firework.

I bet the 25-minute firework will be the better one.

100%. The rest have been overthought and overworked.

SIMON: It won't have been overthought,

it will just be a literally spontaneous floral firework.

I'm here to show the judges who I am, you know,

like I want two pieces up there.

It's really hard to get that across

in those team challenges

and so I have a lot of pressure on me

to come in here and perform.

So I am creating a second piece. It's very simple.

So I used this Japanese allium

and it's gonna represent me and my girls

so I've used baby's breath

and then I've used an air plant in the middle.

I love the movement of it. They're really cool.

So right now I'm wiring these gerbera daisies.

Through the wiring, I'm adding support to the flowers.

You know what it's like when you get the odd stem in a bunch

that's a little bit floppy.

A stub wire can give swift support

so I push it up, make a little hook in the top,

bring that back down

and then just a gentle entwine

and that stub wire will make it

as beautiful as the rest of the bunch.

I decided to do a second one

to kind of complement my big one.

We've been through a lot this past year

so I want to show that we gotta have some fun,

we gotta get some sunlight,

so I'm giving it more dimension, a little color,

because I don't want to go home.

I'm on the chopping block, and, yeah, time is running out.

I've got to get it done.

Oh, shit, it's gonna be wet!

Oh, I should've painted this earlier.

Just adding a little color here and there, not too much.

LUTFI: It's not about if the paint is dry or not,

it's about what it's actually doing.

Florists, you have one minute left.

- Oh, shit! - Yes, ma'am!

Can a brother get more time?

Yeah!

Just to be on the safe side, make sure there's no mechanics.

JUDGES: Ten, nine, eight, seven, six,

five, four, three, two,

one!

(BELL RINGS) - Time is up!

Flowers down!

Antonio. Tell us about your floral works.

The larger one I kind of imagined it

like kind of like a grand finale.

One being an explosion and then another one overlapping that.

And then the little one, I love the heather, I love the purple,

I love the little touches of orange.

I'm obsessed with these. I love them.

- Thank you. - It is what I would've done.

I love the colors that you chose.

I think your palettes are super smart, super sophisticated.

That is what it looks like to design on purpose

and it is really spectacular to me.

I would personally like to take the small one home with me.

Just letting you know.

What I would have liked to have seen

was just some editing of some of your grasses

within the smaller arrangement.

- What? - It's just perfect!

No, it's not!

The two that have been bugging me for ages

are these.

ELIZABETH: What? - You're insane.

Had I had any one of these just in here...

ELIZABETH: Simon's trying to control fireworks now.

..if I'd had one more of something in here that would...

Simon, I agree with you.

If there was something here...

ELIZABETH: Oh.

- What? - OK. Fine.

The man isn't crazy, everybody.

I get all of this, it works, but it doesn't work here.

ANTONIO: Got you.

But I think you have absolutely sold me the illusion

of a smoky feast of fireworks. Well done.

Lutfi, can you tell us about your floral firework display?

I really wanted to create something that felt light,

like the air, you know, but still like really vibrant

and like striking in shape.

It's a feast of color, it is a feast of texture,

I get the illusion of an explosive piece.

I'm gonna come over here because I just have to...

There is one gap.

You're gonna watch, I'm gonna walk towards it now

- because just here... - I see it.

All I'm seeing here is a big section of mechanics.

LUTFI: Yeah.

And that would've worked

had you mounted things onto a stronger wire.

You spent a lot of time on these little...

SIMON: Oh, God.

- Who let him keep the stick? - No, that needs confiscating.

- It does not. - It will be.

- All of your wiring here... LUTFI: Yeah.

Wow. If you're gonna flick it...

..I feel like is really, really, really nice.

However, I agree that it not being on a stronger wire,

even though you were giving me those curlicue stories,

personally I don't buy it.

On the flipside, what I absolutely love

is the fact that you went in

and painted all of these stems black,

knowing that it would be on a black background

when you were presenting it.

That was a very, very, very smart move.

Thank you.

Melissa. Please tell us all about your floral fireworks.

So I love the fireworks that drip.

So I grabbed the green Amaranthus.

I did use, kind of, my mom as inspiration.

Her favorite colors were yellow and orange

so I tied those in with the cymbidiums and the tulips.

And my little piece over there

is essentially a little gold baby's breath bloom

and I painted three of the Japanese alliums

to represent me and my two little sisters

because I think my mom is always here watching over us.

Your second piece that you did, I love the spontaneity of that.

Coloring the Japanese alliums is inspired

against the backdrop of that cloud of baby's breath.

That absolutely is giving me

the realism of a firework fizzing in the air.

Melissa, I appreciate where you went with it.

I think you're such a beautiful storyteller

but it got a little heavy, it got a little droopy,

because the movement is just falling for me,

as opposed to exploding

and like, you know, there's like a, "How you doing?"

and it's more like, "Hey."

You spent all your time on this

and this one's your more successful one.

Thank you.

Mr Canaan.

Well, I wanted to give you dimension.

When I think of fireworks

I think of when it goes up it's like a ball

but then it bursts open

and you get all the joy and the outbursts of a firework

and you get to see the true beauty when it's open.

- Wow. - Thank you.

- Like big, fat, giant wow. - Thank you.

- That is a firework. - Thank you.

I think the depth, the dimension,

you have sold me the fantasy here.

You created the illusion of realism

and I am at your fireworks show.

- Thank you. (MAKES SOUND OF EXPLOSION)

- If I will... - Mm-hm.

You're going to do it whether we say yes or not.

Because of how you clustered your hydrangeas

and then you went back in with the umbrella fern

and then you went in with the curly anthurium

you've really layered

to really give that sense of, like, explosion

and your illusion is really working

so job well done.

Where I think you might've made a mistake

is not just leaving it there.

This other one, who cares? Like, get rid of it.

Like why is it there?

You made two

but you didn't need to put it up there to present.

Oh, damn.

Because that one is so strong on its own.

It's 'cause I had 30 more minutes, you know.

You should've got a glass of water, did some push-ups.

It wouldn't like, you know...

- Given Lufti a hand. - Manicure.

Yeah. Get your nails done.

You know, idle time is the devil's workshop.

I didn't want no idle time so...

"Idle time's the devil's workshop."

- I love that! - A little Southern swing.

Before we continue,

let's welcome yesterday's winning team to join us.

MAURICE: Well, well, well.

- Welcome. - Hi, everyone.

ELIZABETH: Looking gorgeous, as always.

MAURICE: Yeah.

Flower friends, your designs were absolutely explosive

but, unfortunately, one of your floral flames

will be extinguished today.

The arrangement that truly blew us away

and took first place

belongs to...

..Canaan.

(ALL APPLAUD) - Thank you.

The sense of movement that you have created

is properly a firework. Well done.

Thank you, thank you. Thank you so much.

You created magic today.

- Job well done. - Thank you. Thank you all.

- Please keep up the good work. - You got it. Thank you.

And the second-place arrangement belongs to...

..Antonio.

(APPLAUSE AND CHEERING)

- Keep doing what you're doing. - Thank you so much.

You've got something special there, sir.

Boom.

Melissa, Lutfi, would you please join us in the center?

We know this is a tough position to be in.

Melissa, how are you feeling?

I am overwhelmed with gratitude

to even have this opportunity.

I'm really proud of the piece that I made today

and I'm happy with whatever decision is made.

Lutfi, you've worked really hard to be here.

What is this moment like for you?

It's not easy, but, you know,

I'm amongst really talented people

and I'm proud of what I'm doing.

I believe in my voice.

I know what I've got to give and I hope you guys see that.

Thank you both for sharing with us

and for everything you've given

to the competition this far.

The florist leaving us today is...

..Melissa.

We're sorry, your time at Full Bloom has come to an end.

Thank you for the opportunity.

It's been so wonderful I can't even put it into words.

Thank you for sharing your stories and your flowers

with us.

Thank you, guys.

I am going to head back to Arizona with my head high

and I'm so excited to, um, see my family.

I knew that I could come here and show up

and show up every day

and I feel like I did that to the best of my ability.

Six florists remain.

Standing before us is our Full Bloom champion.

MAURICE: Absolutely.

And we'll be very proud with any one of you.

Keep making this decision harder for us, please.

ALL: Thank you. Bye. Thank you.

LUTFI: Oh, my God!

SIMON: In honour of their 80th anniversary,

Full Bloom is donating flowers

to active duty military families through the USO,

the nation's leading organization

in serving US troops.

We have bouquets for each of you

to say thank you for the sacrifices that you make.

Thank you.

- Beautiful. - Beautiful.

We're grateful for the USO.

Thank you.

ALL: Thank you, USO.