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Tom Klockau's avatar

Just in case Tarantino wants to try something new:

Once Upon a Time...in Eugene. Or: Pulp Scions

The movie opens in a smoky, high-end steakhouse in Baltimore, circa 2011. Jack Baruth and Tom Klockau are sitting at the bar, debating the merits of a 1978 Lincoln Continental Town Car and whether Ketel One neat or a Brandy Old Fashioned is the perfect drink. Sitting two stools down is an elegant, elderly gentleman in a bespoke European suit, sipping a neat scotch. It’s Dr. Ernst Niedermeyer. He overhears Jack make a flawless philosophical point about automotive design, and a three-hour conversation sparks. They talk about neurology, classical piano, Broughams, racing and mountain climbing. And gin. They bond instantly.

We cut abruptly to a dark, cluttered garage in Eugene, Oregon. The lighting shifts to harsh, gritty Tarantino-style cinematography. Paul Niedermeyer is sitting at a laptop in a faded, tie-dye shirt, lit only by the screen. He sees a Facebook post of Jack, Tom, and his father smiling together at the restaurant, each holding up a cut crystal highball glass. Paul’s eyes twitch. The Kill Bill siren music blares. He slams his fist on the desk and types a furious, multi-page email to Tom Klockau, timestamped: December 25, Midnight.

To build the tension, the movie breaks into chapters with vintage 1970s film grain, tracking Paul’s life of snapping defeat from the jaws of victory:

Chapter 1: The Spiteful Son (1969) – A teenage Paul, looking like a stereotypical, unwashed hippie, [ED: use someone from Central Casting] screaming at his brilliant father in an elegant Austrian-styled study. Dr. Ernst holds up a brochure for an Ivy League university and a trust fund check. Paul rips it up, spits on the Persian rug, and storms out into a cloud of blue smoke emitting from a rattling, 40-horsepower Volkswagen Beetle.

Chapter 2: The Telemundo Meltdown (1986) – A fast-paced, Wolf of Wall Street-style montage of the early days of Spanish-language TV. Paul is in a sleek, neon-lit 80s boardroom surrounded by millions of dollars in corporate contracts. A suit tells him to format a show a certain way. Paul gets bright red, flips a marble conference table, and yells, "You don't tell ME how to package content!" He is thrown out of the building by security, leaving millions in stock options on the table.

The Climax: The Misguided Heist. Fast forward to the present day. Consumed by a mix of generational envy, financial desperation, and pure bitterness that Jack and Tom are now regular guests at his father’s estate, Paul decides he needs to prove he is a criminal mastermind. He plans a high-stakes jewelry heist at a luxury boutique. He successfully grabs a bag of diamonds through pure luck, runs out the back door in a balaclava (balaclava has, for some reason, a Fiat logo on it), and dives into his getaway car: a faded, 200,000-mile Scion xB, with red-painted steel wheels for some reason. He twists the key. Chugga-chugga-chugga... click. The second attempt emits a final death rattle: GLUG. Uh oh! Paul furiously pumps the gas pedal of the spartan, minimalist penalty box, screaming at the cracked, plastic dashboard. Within 15 seconds, two mall security guards casually sharing a box of Dunkin Donuts casually walk up, open the unlocked plastic door (it falls off), and pull his body right out onto the curb.

The Final Shot: The movie ends with Paul sitting in a holding cell, wearing an orange jumpsuit. A guard drops a clipboard on his desk. Paul looks up and asks if he can use his one phone call to change the publication date on an article Tom Klockau wrote in 2009. He dials the number. A voice on the other end cheerfully says, "Hello, this is The Cellar, would you like to make a reservation?" He screams "NOOOOOOO!" as the camera pans away. The screen fades to black as a classic 1970s funk track plays over the credits. THE END.

Shortest Circuit's avatar

Don't worry, found the 1969 Moonswatch already at the usual suspects for $30.

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