...the white lines on the highway, as a super tells us it's "Saturday." An ovary (tm Sars) butchers Cat Stevens's "Trouble" -- a shame, because it's a great song, used to great effect in Harold and Maude. Anyway, you all know that the highway is in Oklahoma, under a convertible bearing Carter and Lisa. Because when you're on your way to some podunk motel to forcibly remove your mentally ill mother, you want to feel the wind in your hair. Why, why would they rent a convertible? Sally's going to be all crazy and squirrelly; wouldn't a convertible be really easy for her to escape? I don't even know why they'd have a convertible in the context of the show; it's messed up the actors' hair so much that Carter looks like Pat Riley. I guess it's nice that the one stupid scene blended so seamlessly into the next. Carter asks Lisa whether she slept on the plane; she didn't. There's a long silence (though still too short for this recapper's taste), and then Carter asks why Lisa's mother doesn't like to fly. Lisa tells him the story: during one of Sally's manic periods, she told Lisa and her brother that she'd take them to Disneyland. Carter guesses that, when they got to the airport, Sally wouldn't get on the plane. Lisa says that wasn't it: "When we were flying over Nevada, the pilot came over the PA, playing tour guide, and she freaked out. She was convinced we were flying over a nuclear test site, and she tried to open the emergency-exit door. It took two flight attendants and three passengers to restrain her. And they tied her up right there in the seat next to me, and she screamed her head off all the way to Los Angeles." Okay, I know Sally's nuts, but that's exactly what you should be doing all the way to Los Angeles, if you know what's good for you. Carter asks, as a coda, whether they ever made it to Disneyland; of course, they did not. Trust me, it's no loss. Disneyland sucks.
The car pulls up at the Roll On Inn. Ha! I get it. Lisa's and Carter's hair is all windblown and, frankly, terrible. Carter turns off the car and they sit in silence for a moment. Lisa stagily declares, "Thirty years, and I still wonder." "Wonder what?" Carter asks. "What...brings her here," muses Lisa.
The manager (a.k.a. "The Guy") leads them to Sally's room, narrating, "He was an interstate trucker. Freelance, by the look of his rig. Stayed one night, prepaid the week, and then left. I figured he'd be coming back for her. She was ordering pizza for a while, and then nothing. Saw her by the candy machine a few times. Tried to talk to her; she didn't say nothing." They've reached the door; the manager moves to unlock it, but Carter asks whether they shouldn't knock first. Lisa leans against the doorjamb, her arms crossed. The manager snorts that she won't answer. Carter knocks, and calls Sally's name, telling her it's John Carter, that they met in Chicago, and that he has Lisa with her. There's no answer. He shoots Lisa a look like, "Uh. Little help?" Yeah, wouldn't Sally be more likely to respond to Lisa's voice than Carter's, if she were going to respond to anyone's? I don't think she even had a conversation with Carter, unless they exchanged pleasantries off-camera while he was injecting her with Haldol and strapping her to a bed. But Lisa just stands there like a sullen teenager. Why did she even come if she was going to be such a baby about it? Whatever, whatever, whatever. The manager's all, "Told you," and unlocks the door. Carter confidently says they'll take it from there. The manager doesn't care as long as someone intends to pay him. The door open, Carter gives Lisa an expectant look. Lisa is roused to motion.