SCENE: THE AIRPORT. VARIATIONS ON "THREE BLIND MICE" IN SYMPHONIC FORM DRIFT IN THE BACKGROUND. CHRIS IS NOW FREE TO SPEAK AGAIN, BUT HE AND SOPHIE HAVE PRETTY MUCH BEEN BROWBEATEN INTO FOLLOWING LUCARD AROUND BY NOW. THEY MEEKLY GET OUT OF THE LIMO. LUCARD DOES CHECK OVER HIS SHOULDER TO MAKE SURE THEY GET ON THE PLANE WITH HIM INSTEAD OF TRYING TO RUN AGAIN, WHICH IS WISE CONSIDERING THEIR RECORD, BUT CURRENTLY NOT NECESSARY.
Lucard: (over his shoulder) Where would you like to go, Sophie?
Sophie: (her eyes about ready to pop) Anywhere in the world?
THE INTERIOR OF THE PLANE, A BOEING 727, IS DIVIDED INTO THE PILOTS' QUARTERS, THE STEWARDS' QUARTERS, A LOUNGE WITH FOURTEEN CHAIRS ARRANGED IN TWO CIRCLE WITH ALL THE AMENITIES DECORATED IN BLUE AND GREY, AND SLEEPING ROOM FOR TWENTY, MORE IF SOME CAN DOUBLE UP.
Lucard: Outside a certain distance. I want to make it difficult to return without my assistance. Please, be seated. Refreshments will be served shortly. And remember your safety belts, children.
OUTSIDE SHOT. THE PLANE ROARS TO LIFE. IT TRAVELS TO THE CORRECT RUNWAY AND, WITHOUT WAITING, THUNDERS INTO THE SKY. THE MUSIC STOPS. INSIDE THE PLANE, ALL IS NOISELESS. ALL ARE CONSIDERING CHRIS AND SOPHIE'S NEXT MOVE, AND HOW LUCARD MIGHT COUNTER IT, AND ALL KNOW THAT, NOW THAT THEY'RE IN THE AIR, NO MOVE IS LIKELY TO BE SUCCESSFUL. LUCARD WAITS LONG ENOUGH FOR THIS TO SINK FIRMLY INTO THEIR CONSCIOUSNESSES (AND THE PLANE TO LEVEL OFF; HE WANTS TO SET A GOOD EXAMPLE) BEFORE RISING TO PUT ON A CD OF EDVARD GRIEG'S PEER GYNT SUITE NO. 1.
Lucard: Where in the world shall we go? We're already heading west, but that could be changed. Air traffic controllers are remarkably accommodating when it comes to my flight plans. Or we could merely go around the world a few times.
Sophie: (whispers, eyes shining) A trip around the world?
Lucard: How would you feel about a tour of the great concert halls of the world?
SOPHIE'S EYES GET REALLY WIDE. CHRIS GROANS AND BURIES HIS HEAD IN HIS HANDS, BUT SINCE EVERYONE ELSE EXPECTED THAT, THEY BOTH IGNORE HIM.
Lucard: I will take you to see the greatest performances now in the world. Christopher can go to amusement parks and sporting events with the pilot and co-pilots.
CHRIS CHOKES TRYING TO COME UP WITH AN OBJECTION THAT ANYONE WILL TAKE SERIOUSLY BUT DOESN'T INVOLVE GOING TO A SYMPHONY. SOPHIE IS NOT OBJECTING AT THIS POINT.
Lucard: Does this plan meet with your approval?
Sophie: Oh . . . yes!
Lucard: Very well, then. I have tickets to the Royal Philharmonic Orchestra of England with me at this moment. I'm sure I can find something to do with Christopher's ticket. I'll have my people arrange the future engagements.
Chris: Engagements. Right.
LUCARD SUPRESSES ANNOYANCE. SOPHIE LOOKS A LITTLE WORRIED, BUT SHE'S TOO EXCITED TO SAY ANYTHING. SHE'S STILL WARY, BUT THERE'S NO REASON SHE CAN'T ENJOY A CONCERT, ESPECIALLY IF SHE HAS NO CHOICE BUT TO COOPERATE. AFTER ALL, THERE'S NO CHANCE THAT LUCARD WILL TRY ANYTHING EVIL IN SUCH A PUBLIC PLACE.
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