I took another whack - this time, instead of starting with the edited version, I reset everything and started from scratch.
Here is what I came up with this time - first number between | | is Lr factory default, 2nd is edited (comparison provided by ChangeManager).
I removed things not relevant to the current discussion.
Blacks2012 | 0 | 100 | 100
Clarity2012 | 0 | 20 | 20
Contrast2012 | 0 | 50 | 50
Exposure2012 | 0 | 1.4 | 1.4
Highlights2012 | 0 | -50 | -50
Shadows2012 | 0 | 50 | 50
Tone/Point Curve
Whites2012 | 0 | 40 | 40
Things to note: although contrast is a tad higher than previously, the other settings are more moderate, and closer to a typical photo, with the single exception of Blacks, which is now at a whopping +100.
Previously, parametric tone curve was close to the OP's edited version (inverted "U"), but the point curve was a "U"), the final result being sorta 'S'-ish. This time, there was no parametric tone curve, and the point curve is a much stronger "U".
This version has better contrast, globally, and locally, with less applied clarity. (the high clarity value of previous edits was bothering me because it gave the table a bit of a harsh/grungy look yet still wasn't really clearing it up all the way). In this version the table is clearer looking and relatively more saturated, with a softer, more natural sense.
The secret is the +blacks and "U" shaped tone curve - this time, pushed all the way to the limit.
PV2012 likes such editing if photo is to have a high-key look, reminiscent of high PV2010 fill.
Perhaps another setting of note: Whites +40. Keeps highlights bright - yet only clipped in the light source above the doorway. Intra-highlight contrast is nevertheless maintained due to the very "U" shaped curve, which is sharpest upward through the highlights/whites.
Whack 5: http://www.robcole.com/LrForumSupport/_DSC0473_RDC.zip
UPDATE: Why does this work? because PV2012 algorithn has some very nice logic to roll off exposure at the top end, and likewise, even +whites does not clip too much. Granted, the highlights would get pretty jammed up, if it weren't for the point curve to unjam them.
Also, +shadows with extreme values especially when coupled with enough -blacks to keep a high-key photo sufficiently seated, can look very un-natural. Doing more of the heavy lifting with +blacks, which has the good sense not to unseat black too much in the process, sets everything up perfectly such that with a relatively simple "U" shaped tone curve, everything just drops into place 
.
Reminder: +blacks has no artifacts associated with it - it bypasses the masking/re-combining stuff and is not subject to the clarity type math stuff that is used to eek more local contrast when using +shadows (and -highlights). Don't get me wrong: +shadows is great, it's just that it has it's limits and once reached, one needs to turn to +blacks and compensatory 'U' curve to supplement.
Cheers,
Rob