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"Deathtrap" is a wonderful windup fiction machine with a few modest ambitions: It wants to mislead us at every turn, confound all our expectations, and provide at least one moment when we levitate from our seats and come down screaming. It succeeds, more or less. It's a thriller that depends on all sorts of surprises for its effects, and you may continue reading in the confidence that I'll reveal none of them. That doesn't leave me much to write about, however. Let's see. I can tell you something about how the movie begins. Michael Caine plays a very successful Broadway playwright whose latest mystery is a total flop. We see him at the outset, standing at the back of the house, a gloomy witness to a disastrous opening night. (It's a Broadway in-joke that the play he's watching is being performed on the stage set of "Deathtrap.") Caine gets drunk and goes home to his farmhouse in Connecticut and sinks into despair. There is perhaps, however,

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