At first, Kurt doesn't say anything when he sees the blood on Tina's arm. Instead his face contorts to confusion. A slight puddle of blood drenches her sleeve. His eyes squint and his lips purse as if to show that he is thinking, and then the revelation occur. Tina is too stunned and cautious to move, still worn out from her previous hospitalization to deal with anything, particularly a preemptive explanation or movement of our arm.

Yet, she does nothing, thinking that even if Kurt noticed the blood, he wouldn't care enough to figure it out, and even, if such an epiphany occurred, nothing would be done. Why would Kurt say anything? Why would he care? Nobody cares about Tina? The only reason he pulled her in is because that's what Glee does for everyone in their ranks whose been slushied, including Santana who was mean to everyone. Kurt's not her friend. He's just a fake who pretends. She knows, and it's proven in the number of texts he's sent in the last year—just six. He doesn't care about her enough to make a big deal.

Yet, Tina is wrong.

"Oh," he says after a few moment. "Tina do you… Tina you don't….? You're not…? That's not why…?

"It's not what you think, Kurt," Tina says quickly, mentally damning her situation. Once again, she's in a terrible debacle. Why is she here? Because of an immature, arrogant deuce who decided it would be fun to ruin her day and make her feel like crap. If only she could whip his hockey puck in his mouth, and throw a slushy on him. For the amount of times he's done it to her, it would only be justice, especially after this round.

Tina used to play a game for a while. The rules were simple whenever someone insulted or criticized her, she'd make a cut. So, despite the fact that Tina liked to pretend that the words of the hockey players never hurt her, most of her cuts emerged from one of their attacks.

And now, they may have caused those same cuts' discovery. If this round of slushy attacks hadn't happened, Kurt wouldn't have grabbed her wrist to sweep her into the bathroom. The gesture was supposed to be flattering. He meant well, but, of course, with her luck, some scab had be ruptured in the process. Otherwise the universe couldn't get it's laughs at Tina! "I had a really bad IV put in. The nurse didn't know what she was doing. It left a scab."
"Oh," he says in a meek little voice that sounds more like the pre-glee Kurt, and less like the super cool, out-and-proud, senior that she's come to know. They just sit there for a moment, when he starts rinsing out her hair. Then, of course, because post slushy attack grooming has to be a communal affair every so often. Rachel walks in toting a towel and the designated tshirt, sweatshirt and jeans

Tina talks to Kurt and Rachel idly for a while about whatever there little hearts desire. Right now it's NYADA. Their futures are so bright that it makes Tina sick, physically repulsed.

Then it stops. Tina's in the stall, changing, realizing that a chorus of whispers has emerged. The feelings of being the subject of gossip makes her unbearably anzious. She could throwing up. Then Rachel asks a variation of the question Tina loathes. "How are you doing in there Tina? Are you alright?"

Tina, takes a deep breath, deciding to answer face-to-face. She comes of the stall. She had planned to convince both Kurt and Rachel that she really is okay, but when she opens her mouth no words can form on her lips. One look at their facial expressions, and she is a very startled deer in head lights. Then it happens. Rachel grabs her hand and pulls up her sleeve, exposing the stitches and medley of scars on her wrist. They both gasp. Then Santana walks in and her mouth falls. Tina is frozen, feet stuck to the floor. This has to be some sort of set up, some big, cruel joke.

And just like that, years of keeping it a secret are thrown a way. Within a couple of weeks her boyfriend ex boyfriend, parents, and teammates have discovered her favorite coping mechanism. Tina thinks that if she has a chance ever again, she better scar the word moron. It seems to reflect her opinion of herself in this situation, quite perfectly.

Tina shoves the sleeve back down. "Please," she says, practically begging, "Don't say anything. I know. I know. I'm taking care of it."

"But," Rachel interjects, but Tina pounces back with a threatening glare. If only looks could kill, but, at least they can get one Rachel Berry to shut up.

"And no songs, ever. Don't ask about it. Don't lecture me about this. And don't tell anybody else.

Tina leaves, her heart beating as fast as she can imagine. The truth is going to get out. It has to. It always does.

When baby-gate went down, Tina felt like the last to know, and she also felt like it was none of her business. She participated in gossip, but Tina never told Quinn what she ought to do. She didn't even particularly like the idea of singing her a song. It just felt awkward, like all of glee was trying to force themselves into Quinn's very private matter.

Yet, that song wasn't just about Quinn. It represented every dynamic in glee club. That was when Tina realize how unimportant she was in the Glee Club because Glee was really only about Rachel, Quinn, Finn and Puck. The rest were all the side acts, but Tina was just the furniture, some tree floating in the back. It's no suprise that Background was on her leg.

With baby-gate, came gossip. The wild fire spread at an unbelievable rate. With babygate, Glee was put on a map as gossip spread about them all, and so Glee club got a reputation. The reputation worse one, which at the time seemed impossible. Slushies became worse, and taunts more profound. Tina then understood, how quickly news travels when you're in the rutts, and how painful the repercussions of rumors and gossip can be. Who thought so many people could enjoy metaphorically kicking a dead puppy?

Rachel can't keep secrets.

Neither can Kurt.

Santana is a pro at monopolizing new information

Actually they all are.

When Tina walks into the choir room, she expects stares and whispers, uncomfortable inquiries of her well-being. But she doesn't expect everything else.

Mr. Schue stands up in front of the class, clearly uncomfortable. He picks his favorites, and then he pretends that he loves them all. It's a phony charade. He loves his little football star that got the rest to join: his little Finny-poo. He loves Rachel's voice, and could ignore the rest of her with fluid dislike

"So, guys!" Mr. Schue says with more energy than any teacher should have, I know we all have a song we'd like to give to our most missed member, Tina Cohen Chang!"

An awkward applause overtakes the choir room. As they bustle around. Tina notices the knowing, sympathetic look that Mike's gives her. Rachel just stares her down, and Kurt... It's too much. Tina sprints out, because what sucks more than being aware that everyone in a room knows your deepest secret?

"Tina!" Mike yells, "Tina! Tinaaaa!"

It doesn't stop Tina though; she doesn't look behind. Yet Mike get's closer as his voice approaches her ear. She feels his hand grab her shoulder. "You okay?"

Tina looks at him, "Just peachy, Mike! Just peachy!"

He studies her face then, too visible and too obvious. Words are forming in his brain, epiphanies and rejects being edited to deliver the perfect verdict to Tina, his self-described crazy ex."

"The song was planned last week," he finally says, "Only Mr. Schue and I knew. Everybody else just thought you were sick. They said glee club didn't feel the same without you. You're the link we need."

Tina scoffs, "I'm background furniture. If you hadn't said anything, nobody would have known I was gone."

He shakes his head.

"But everybody knows," Tina cries, "Kurt, Rachel and Santana found out."

"So?" he asks, "They won't say anything to anyone. They're friends."
Another scoff comes from Tina's direction

"Tina, please come back to glee club. Everyone is worried about you. I'm sure. "