就在谭帏郁闷之时，春暖一个清新可人的女孩进入到谭帏视线，春暖引起他的怀疑，经过谭帏的查实，文素洗去了嫌疑，就此相识，心生情愫，开始相恋。影子却音讯全无，谭帏派入卧底打入爱国同盟会内部，准备将同盟会一举歼灭时，走漏消息任务，再一次失败，文素又一次引起谭帏的怀疑，谭帏准备将文素抓捕时，文素却冒死替谭帏挡住了爱国同盟会的暗杀，文素的这一举动消除了谭帏的疑虑，谭帏觉得是自己错怪了文素，心里异常愧疚，这时，谭帏接到指令去张大帅府上拿到绝密名单，张大帅五姨太生日宴会那天，谭帏混入宴会窃取名单，名单拿到手后，却遭遇神人抢夺，俩人厮杀，这时，谭帏才知道文素就是影子，一直潜伏在自己身边获取情报，谭帏不忍杀害文素，毅然决然的放掉文素，自己却被情报处的人抓住，生死难料，得知谭帏被抓，文素冒死相救，俩人经历了生死的考验，最后，谭帏随着文素加入同盟会，走上革命的道路。
回复 :《深红祭坛的诅咒》是1968年由弗农·苏厄尔执导的一部英国恐怖片，主演克里斯托弗·李、鲍里斯·卡洛夫、芭芭拉·斯蒂尔和马克·伊登。这部电影是由路易斯·M·海沃德为蒂贡英国电影制片厂制作的。这部电影是作为美国的深红崇拜而编辑发行的。这部剧本是由《Who博士》的编剧默文·海斯曼和亨利·林肯根据H.P.Lovecraft的短篇小说《女巫之家的梦》改编的（未经认可）。这部电影还展示了恐怖重量级人物卡洛夫的最后一次亮相。 古董商罗伯特曼宁（伊甸园）寻找他的兄弟，谁是最后一次访问了克雷斯泰德洛奇在格雷马尔斯，他们家族的祖籍小镇偏远的房子。到了晚上，他发现一个聚会正在进行中，于是他被邀请住在屋主的侄女夏娃（Wetherell）身边。他的睡眠是不安的，奇怪的祭祀梦打扰了他。房主莫利（李）打听他哥哥的情况，向他保证那个人不在那里。曼宁的怀疑是由噩梦般的幻觉引起的。神秘专家马什教授（卡洛夫）告诉曼宁莫利的祖先拉维尼亚（斯蒂尔）领导的巫术崇拜。人们发现这个邪教仍然活跃。克拉克斯特小屋被烧成灰烬，邪教的头颅被火焰吞噬。
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回复 :This early 70's giallo by Umberto Lenzi is certainly among the best in his filmography and also in the whole genre. Personally I think Lenzi's best films are the funny cartoon-turned-film Kriminal, the stylish giallo Seven Blood-Stained Orchids, the explosive Napoli violenta and this. In the eighties he did plenty of film trash in form of Eaten Alive, Hitcher in the Dark or Black Demons, all of which are ripping something off and/or very dull and slow moving. Knife of Ice came when the giallo boom was at its hottest and the result is convincing.Technically the film is superb, containing great cinematography in the beginning when we learn about the main character's trauma towards trains. From this point on, Lenzi shows us his ability to benefit the widescreen and, for example, the bicycle ride near the forest is genuinely beautiful! This scene also shows Lenzi's ability to build suspense, very slowly but meaningfully. After all, there aren't so many murders in the whole film, only the suspense circulating around the murderer's identity.One suspect is a devil worshipper which brings new aspects to the mystery. Since the final scene takes place in a church, one can wonder if Lenzi wanted to comment on something, maybe the hypocritical morale of church and superstition. The main character (Carrol Baker) is mute which demands a lot from her face and eyes. The actress works very well, giving us a believable performance circulating around the emotions of fear and mental pain. The other actors are good, too. The finally, however, may not give too positive a sight about female sex since they all are expressed rather negatively in the film, one way or another. Still this is easily among the most noteworthy in the genre, not as bloody as the Argento films, for example, but equally suspenseful and visually also interesting.