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” There was no doubt in Sue’s mind that Hammer wanted to strap her to the table. tell me again you won’t do what I say,” Hammer said amusedly. The French used it on men, women, old people, even little children. I’ve always wanted to see just how effective.” “What … “Stuff it up your cunt and turn on the juice,” Hammer said.
They would betray their friends, tell secrets, promise to be good in the future. She stared in fascination at the innocent-looking metal rod.
It was about an inch and a half thick and two feet long. It was a magic wand that made people do whatever the French wanted them to do. “Let’s give the little bitch a light jolt to make her realize we mean business,” Glenda said coldly.
” Smiling, Frank took a metal rod from his coat pocket. “This, my sweet little Suzy, is something the French used when they were in Algeria. Sue was afraid she was once again going to shame herself by reacting sexually. Glenda plugged the other end of the trailing wiring into a wall socket.
Only dramatically he's gone down to the basement, you see.
'Course, there isn't really a basement, but he just goes off and we pretend.
See also Genre Savvy (which doesn't involve the Fourth Wall) and No Fourth Wall.
Cut to studio: with increasing panic they run to the second door.
Generally, this awareness is brief; it's used for a joke or two and then never mentioned again.
Used this way, it's Lampshade Hanging as applied to Paratext. Compare with other metafictional devices, particularly Painting the Medium, which uses Paratext and artifacts to tell the story, and Reading Ahead in the Script which is exactly what it sounds like.
Actually what happens is he just goes off there, off-camera, and just waits there so it looks as though he's gone down to the basement.
They’re gonna like that sweet little body of yours.” Sue paled.