The drive From Santa Barbara to Los Angeles went smoothly enough; mid-morning, the traffic was still reasonably fluid and we made it to West Hollywood without too much drama. We dropped the ‘car’ off at a Hertz branch at the Renaissance Hollywood and lugged our bags the few blocks west to our humbler lodgings. Just off Hollywood Boulevard, the Orange Drive Hostel was a labyrinthine old mansion with whitewashed walls and airy windows, and it was a welcome change from the the air-con and sealed windows of the identikit motels we’d stayed at so far. We left our bags in the room and stepped out into the sunshine and fumes of Hollywood.

I struggle to know exactly how to write about or describe Los Angeles. Selfishly, I want to draw some neat conclusion about it, to summarise it in a pithy paragraph or two that I can write down here and give myself a satisfied pat on the back, but after three visits I still have only the faintest idea of what the place is about. What I can do in a couple of paragraphs of at least some marginal degree of pithiness is to report what Ash & I did there, so let’s stick to that.

We spent the days doing some of the generic tourist stuff: we took a tour bus around Hollywood, Beverly Hills and the Sunset Strip; we rode a city bus along an unexpectedly circuitous route through the ‘hood and out to Santa Monica, and we traipsed along Hollywood Boulevard and wondering exactly why it’s relevant any more.

In the evenings we geeked out and indulged our private LA flights of fancy. We ate in the 101 Coffee Shop from Swingers, a salubrious little diner whose walls were plastered with photos from the 1970s and where studiedly uninterested hipsters perched on the bar stools to pick at omelettes and apple pies. We drank beer at a streetside table outside Mel’s Diner on Sunset, where, four years earlier, Josh, Dave and I had our holiday bookended perfectly by the appearance of Road Trip‘s Breckin Meyer. Lastly we visited the Viper Room, the music venue owned until recently by Johnny Depp and the scene of River Phoenix’s untimely demise, somehow managing to talk our way around the cover charge on the way in. We got smashed on expensive drinks (taking the shine off our crafty avoidance of the entrance fee) and listened to a succession of really quite good bands. Then, with the hand of history weighing heavy on my shoulder and six bottles of Corona equally heavy on my bladder, I made a lengthy visit in the same toilet where poor old River Phoenix took his last earthly trip to the bog.

In short, we did just what you might expect a couple of Amerophiles to do in la-la-land, and of course, we left as intrigued and nonplussed as when we’d arrived.

On the morning of our last day, we picked up our new ride from Budget in Beverly Hills, slap bang in the 90210 area code. In a fit of unashamed fanboy enthusiasm, I’d hunted down a convertible Mustang from this one particular branch of Budget; nowhere else can you be guaranteed a particular model of car and if you tick the horribly vague ‘convertible’ box on the rental form you’re far more likely to be lumbered with an execrable Chrysler Sebring or a dull-as-dishwater Toyota Solara. I’d been waiting for this since finishing up in Vancouver, and I couldn’t suppress a shiver of anticipation as we walked out to collect our honest-to-God pony car from the rental lot.

We were not disappointed.

It looked pretty fucking good sitting there in dark blue. Despite being a lowly V6 — the original ‘secretary’s car’ — it was still a rear-wheel drive convertible rocking a 4.0 and a 5-speed slushbox, and it was bang on the money for road trippin’. We lowered the top, started her up and rumbled out onto Sunset. Set phasers to cliché!

Unfortunately, reality intruded on our dream cruise as soon as we left the car park. Our last stop in Los Angeles was the Getty Center, up in the Santa Monica mountains. Deanna had suggested that we visit it if we had the chance: “Even if you don’t go to look at any of the art, the architecture is stunning.” Cretins both, neither Ash nor I had any idea what the Getty Centre actually was, but the magic word ‘architecture’ sold me on it straight off the bat. The only problem was getting there.

We were sucked out of the rental lot on Santa Monica Boulevard and plunged straight into the infamous LA traffic without much control over where we were going, buffetted from lane to lane against our will. From the driver’s seat the Mustang was huge and unwieldy, a hulking brute with numb steering and visibility-hampering retro styling. The open top exposed us to the baking morning sun and a honking, distracting sea of hostile drivers. Surely it’ll get better, I thought. I’ll get used to the size of the car and the steering will firm up once we’re on the freeway. When we finally got to that freeway, the 405 that would take us north to the Getty, I put the foot down to propel us up the on-ramp and into the faster moving traffic. The engine revved, the auto box kicked down, and yet we ambled up onto the 405 at more or less the same speed.

Oh dear, I thought.

We arrived at the Getty within about ten minutes and I put my worries about the car to the back of my mind. Set within the rocky confines of a canyon in the Santa Monica mountains, the Getty wasn’t much to look at. It looked exactly like a multi-storey car park, in fact, down into which we were directed by one neatly-dressed attendant after another. After fiddling for a few minutes to get the car’s roof back up, we took a lift back to ground level with a few other visitors, only to be corralled into a queue by yet more smartly attired attendants.

We looked around. We were in a monorail terminal, all marble and steel and fastidiously clean, and surrounded by the neatly trimmed hedges of a sculpture garden. Visitors and staff members alike were all smiling beatifically and seemed content to wait for the train. I was acutely aware that Ash & I were a polite question away from being discovered as unbelievers.

“Have you been to the Getty before? Just my little joke — of course you haven’t. No-one who comes here ever leaves.”

A driverless train arrived after a few minutes; we were shepherded on board, and it left the terminal to travel slowly along a track which rose up over the highway. The view was spectacular.

The monorail slowed to a stop after a few minutes and its doors opened to disgorge us into a stark marble utopia. I was utterly bewildered — what was this place? After all the gentle cajoling into this car park or that tram, the expanse of marble and geometric buildings framed by a cloudless blue sky was overwhelming. We picked up a leaflet and wandered up the stairs to the main plaza as we read it.

After our worries that this might be some sort of Scientologist retreat, or that the monorail had been going to open a hidden set of bomb bay doors and drop us into a hundred foot ravine, it turned out that the Getty Center was just an art gallery. That is, if ‘just’ is not too mean a word for a $1.3 billion edifice which evokes ‘city of the future’ and ‘Blofeld’s lair’ in equal measures. Everything within it was artfully placed: sun-dappled boulders and pebbles in the garden’s stream create a ‘sculpture’ of sound; red and white flowers punctuate the lush greenery; cubist buildings frame incredible views of the city below and mountains above. It was fantastic, in the true sense of the word. And you know what? Deanna was right — we barely even looked at the art.