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[Tina stands in front of a gothic-style door on the sixth floor, fiddling with a matching black key featuring elaborate loops and hanging from a chain around her neck. She pulls the necklace over her head and, with a deep breath, she squares her shoulders and unlocks the door. She steps through the doorway, only to find herself back in the corridors of McKinley.

She spins around at the sound of her own voice, coming face-to-face with a version of herself - with no coloured streaks in her hair, the change of wardrobe she'd been considering, and an air of coldness surrounding her - talking to Jacob Ben Israel about starting her senior year. She watches in horror as her double (her future self?) speaks in harsh, clipped tones to a small Japanese girl following her, who is apparently her personal assistant, then mentions breaking up with Mike (and wow, if that isn't a punch to the gut). She can't tear her eyes away as the scene continues, seeing herself confident to the point of arrogance, all sharp edges and words, and she can't help but think that her future self must be screaming inside.

Her surroundings fade and Tina finds herself back in the mansion. She barely notices that the door has disappeared as she leans back against the wall and slides down to sit with her knees against her chest, her head tilted forwards so her hair hides most of her face.]

Is there a way to just stay here and never go home?

Flat | Top-Level Comments Only

That's a justifiably good question.

[He taps the screen like he might tap her shoulder if they were in person.]

I bet if you weren't hiding your face, I'd be seeing all kinds of clear human ocular leakage. What did you see?

[She sniffs, lifting her head to show that there are indeed some waterworks going on.]

Umm, they're called tears, and as you can probably see, you're right. I think I saw me in the future. The way I was acting, though, I barely recognised myself.

Is it something you can keep from happening?

[John's just coming up on that particular piece of the hallway in time to see a girl folded in on herself. Seems like there's a lot of emotions going around, though he doubts there are any more than those these holidays usually stir up.]

[Treading lightly, he steps closer to the girl and slows to a stop.]

Everything okay? [He's missed her rhetorical question posed to herself, so from an outsider's perspective, she's just curled up in a hallway by herself.] You hurt?

[Tina starts in surprise at the voice, wiping at her eyes to try to stop the tears that are just starting to appear. She stays curled up defensively, though she attempts a smile for John.]

I'm not hurt, no. Just- a bit overwhelmed at the moment.

Seems like just the kinda place to do that to people. [Not much of a fan of seeing girls cry, nope. He gestures at the ground next to her.] Want some company?

[Castiel is attempting to explore the mansion. He mostly does so on foot - he doesn't know how being here will affect his dwindling Grace, therefore he doesn't fly.

It's why he enters the corridor, and it's why he slows down the closer he comes to the slumped figure. Castiel looks up and down the corridor, even though he knows that no one else is near. It falls to im to check on the female. And he doesn't like it. Castiel is not a compassionate creature by nature. Still he steps closer, raises one hand, then lowers it.]

Are you hurt?

[Blaine was heading back to his room, when on the way, he spotted a familiar figure sitting on the floor. Of course he has to stop, because 1) something might be wrong, and 2) she's someone that he vaguely knows, so yes. He's going to stop.]

Hey Tina, are you okay?

[Cooper is walking back to his room when he sees Tina in front of him. He pauses, his brow furrowing and a look of concern in his eyes. Slowly, he knelt down beside her. He doesn't touch her, as much as he wants to reach out and comfort her.]

Tina?

[The mirror!Lorax snorts.]

That's a new one.

Y'got some problem with this place? Y'don't like your new home?

I dunno! Maybe.

Why?

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