A deathtrap is a literary and dramatic plot device where a villain, who typically has captured the hero, attempts to use an elaborate and usually sadistic method of murdering him/her.

It is often used as a means to create dramatic tension in the story and to have the villain reveal important information to the hero, confident that the hero will shortly not be able to use it. It may also be a means to show the hero's resourcefulness in escaping, or the writer's ingenuity at devising a last-minute rescue or deus ex machina.

This plot device is generally believed to have been popularized by movie serials, though it is best known for its use in the James Bond film series and superhero stories, and has precedent in 19th century theatrical melodramas from which the cliché of the moustache-twirling villain leaving the heroine tied to the railroad tracks is derived.

It is a common criticism that it is unbelievable in story plots to have villains try to kill the heroes in such elaborate ways when they could use simple methods like shooting them. Through the decades, comic book writers have responded to these complaints by devising ways in which the deathtraps have served other purposes. For instance, one Legion of Super-Heroes story by Jim Shooter had a team of Legionnaires put into a variety of deathtraps whose real purpose was to have them use so much energy to successfully escape so the villains can harness it to their own benefit. Other stories have had villains use deathtraps as a means of testing the heroes or to distract them while the villain attends to other matters. Other supervillains use it for personal reasons like The Riddler, who has an uncontrollable compulsion to create intellectual challenges for his enemies, and The Joker, who simply enjoys the challenge.

Famous examples of deathtraps

• Raiders of the Lost Ark: Sealing Indiana Jones and Marion in the Well of Souls
  • Escape method: Seeing a possible tunnel entrance, Jones climbed a statue and toppled it towards the wall to create an entrance to a passageway that led to the outside.
• Goldfinger: James Bond is shackled spreadeagled to a table and a powerful laser is approaching to cut him in half. Unlike many deathtrap scenarios, Bond is not left alone or unguarded, nor does he use a device or outside help to escape.
  • Escape method: Bond persuades Goldfinger that his replacement might know about his plans and Goldfinger cannot take the chance of another spy coming in to interfere.
• Live and Let Die: Doctor Kanaga and a minion tie James Bond and Solitare to a platform to be lowered into a shark infested pool to be eaten alive.
  • Escape method: When the villians' backs are turned, Bond activates his watch's rotary saw function to cut through his restraints to free himself and attack Kanaga.
• The 1960s live action television series Batman usually had two-part episodes which have a cliffhanger involving bizarre deathtraps.
• The Perils of Penelope Pitstop always involved improbable deathtraps, usually set by the Hooded Claw .
• Dick Tracy was the first comic strip to use deathtraps extensively. The most famous was devised by Mrs. Pruneface. Her creation was that of Tracy lying chained to an apartment floor underneath a refrigerator supported by two ice cakes which had a sharpened pole aimed at the detective's heart. The heat was turned up and as the ice cakes melted, the pole would descend until it impaled Tracy.
  • Escape Method: Tracy noticed that the floor was on a slight incline and hit upon the idea of repeatedly striking the floor with his pelvis, thus caused the fridge to be slowly shifted to one side until the pole missed him. Meanwhile, Pat and his police comrades eventually found Tracy and freed him.

The Villain Speech

A simpler variation on the deathtrap is the villain speech. The villain, after having captured the hero or another victim, gives a long speech taunting and sneering at his victim, pontificating on how said victim will soon die, and reminiscing over how he tried for so long to get his kill and is now about to reap the reward. Villains may also give away details of their evil plots, on the rationale that the victim will die immediately. This speech, given when the villain could have just killed the victim in a matter of seconds, is invariably used to give another character time to come in and save the victim, or for the victim to escape.