...down from the door where it began.

Sometimes travelling scenes give us a good opportunity to show a little character or banter. Flex the writing muscles. Sing a little--this is why there are so many songs in fantasy novels.

Most people have already suggested the various options I'd suggest. I'll echo the "cut it if you can spare it" comment.

There is an art to avoiding this problem in the first place. Ben Kenobi lives a short speeder ride from Luke's place on Tatooine and another short speeder ride, conveniently in the same direction they were already going, from the planet's biggest spaceport. Where Han just happens to be stopping over. And the droids crashland a short junk-trailer ride from Luke's farm. (There's quite a bit of the magic of cutting in those first 20-odd minutes, too.)

In LOTR, notice how much stuff there is between Point A and Point B. I grant that the Emyn Muil are a bit boring, but there is Gollum's sneaking and struggle, conveniently placed not too long after a lengthy section of Sam mostly complaining about being hungry, I think. There's the introduction of flying Nazgul, the Dead Marshes and the lights, eventually the rock and pool scene. There are a bunch of little events in there, fairly carefully linked together. Certainly Tolkien rarely rushes to get us anywhere, but those scenes are, IMO, also some of his most atmospheric.

It's the same in Fellowship--wolves near Caradhras, the Brandywine ferry, the Crebain, etc. It's one of the benefits of Middle-earth being such a rich, detailed world. You build the world right and you don't have long stretches of emptiness. Move things closer together. Add backstory to the emptiness (at least in your notes--not necessarily in the narrative). Find something that can happen.

Or cut to whatever happens next.