All language subtitles for Full.Bloom.S02E04.WEBRip.x264-ION10

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.