I don't think that it has anything to do with using the CIE-Lab colour space, and you should only use absolute colorimetric rendering intent if you are doing colour proofing. Relative (or perceptual) intent is nearly always a better choice, and I wonder why you want to use absolute colorimetric, or the CIE-Lab colour space, for that matter.
Fraser, Murphy and Bunting have this to say about absolute colorimetric rendering intent in Real World Colour Management, 2nd edition:
Absolute colorimetric differs from relative colorimetric in that it doesn't map source white to destination white. Absolute colorimetric rendering from a source with a bluish white to a destination with yellowish-white paper puts cyan ink in the white areas to simulate the output of one printer (including its white point) on a second device.
I don't know why you have experienced such a marked colour shift, but most white printer papers contain optical brighteners that can confuse colorimeters. White papers without optical brighteners will generally have a yellowish tint, and this will be picked up by a good colorimeter when using absolute colorimetric rendering intent. If you are scanning a fine-art book, the paper is likely not to contain optical brighteners.
Note that the conversion algorithms between CIE-Lab and other colour spaces can introduce inaccuracies, especially if you are using 8-bit channels. Always use 16-bit channels with CIE-Lab.
If you value the hair on your head, stick to relative or perceptual colorimetric rendering intent, and only use CIE-Lab if you have a real reason to. There's nothing wrong with Adobe RGB. If you are scanning for web content, keep it simple and use perceptual and Adobe RGB.
Edit: Thinking back to my colour management days, I had horrendous colour shifts if I inadvertently triggered double conversion, either on input or output. However, I was using Photoshop CS2 with Windows 2000. Neither the application nor the operating system knew what the other was doing. Maybe things have improved since then.