14.
The first thing of notice upon the alighting moment from the train is that this new station, a destination so to speak, is that the very station itself differs immensely from the one with Nigel first boarded the train. The very aesthetic is a three sixty in difference from that first station and the number three is prevalent.
A sign clearly states that this is platform number three. In a place upon the station wall where some poster might once has rested, there is a digital screen stating that three is the magic number. What the number three may represent would be something of an unknown if either Nigel or Josh were to take a moment to notice it.
And where the previous station was set in the distant past as the train itself was too, this station appears futuristic, something one might expect an average station of the future might look like. With memory scrambled as it is, Nigel cannot be sure what his current date in the real world should be. He does rely on a certain feel, a sense of what should fit and what shouldn't. This here doesn't feel quite right.
That first station would fit with a time pre or post year 1900. Whatever time he himself belongs to, he could be certain that it would be quite the distance from then, a present ... according to his senses ... that could be a hundred years, or potentially more, from such a time. Here in this new station, time could easily be another hundred years along, a year which could easily exist many decades from his own time.
Being late in the day, at least setting wise, the station is lit up in bright neon of mostly blue and pink ... not all too dissimilar to the bar where Nigel first met Josh within the construct. Of course, and Nigel could be relatively sure of this, neon lighting exists in his real-world time though this here certainly feels somewhat futuristic.
Yeah, this is a right proper pendulum swing in time. Even the exterior of the train differs immensely from what Nigel had boarded. It tracks, so to speak with the time jump, it fits its surroundings being somewhat of an electric entity here where it had been a stream train before.
Standing not quite against the exterior of the station building is an older man, a man at least a few years older than what Josh may be, late sixties potentially. He is well dressed complete with a beige trenchcoat and cap. He is wearing dark circular rimmed glasses and is holding onto a cane not unlike that with which a blind man would be in possession of, so the natural assumption would be that this man is indeed blind.
Josh and Nigel are about to move into the station building before them when ... Nigel more so than Josh ... is distracted by words spoken by this man as if the words are meant more so for Nigel than for Josh.
'I see you' speaks this man.
'Excuse me?' inquires Nigel having stopped dead in his own tracks.
'Penny for your fortune, good sir, penny for your fortune ...' speaks the apparent blind man.
'Are you speaking to me?' Nigel can't quite tell as this fellow is almost looking quite past him if he were looking at all.
'C'mon, ... let's get on with it ...' Josh tells Nigel grabbing a hold of him to take him on inside the office building. 'It's probably no more than a glitch.'
Nigel does enter the building with Josh and as he does this, he can't help but look back through the entry way he had moved through only to hear the blind man calling out once more.
'I see you ...' the voice is loud and echoing. '... I see you. Make your escape, before it's too late.'
'I don't do glitches' Nigel says almost nonchalantly and of the cuff, as if it were a remark his regular real-world self would say, and if he were to think upon his own words ... he wouldn't quite understand why he said it.
