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[[strikethrough]] , but [[/strikethrough]] I for one was certain that Rose Valland could tell more [[inserted]] than we could learn elsewhere [[end insertion]] if only she would.  Was she [[strikethrough]] being coy, girlish, feminine, stringing me along [[/strikethrough]] leading me on for some reason I could not fathom [[strikethrough]] did not suspect [[/strikethrough]]?  No, that was not possible for thus far all she had told me about Paris and the Rosenberg gang was [[strikethrough]] correct [[/strikethrough]] born out by subsequent findings. A year later when we were [[inserted]] both captains [[end insertion]] sharing the same apartment in a military government billet at Wiesbaden, [[strikethrough]] when just before I last saw her just for [[/strikethrough]] just before I returned to America I was [[inserted]] to [[end insertion]] learn the reason for her tactics.  She [[strikethrough]] was then captain Rose Valland [[/strikethrough]] had learned to trust no one.  Even the finest of her colleagues had to play politics [[strikethrough]] in the hectic France of [[/strikethrough]] during those trying years [inserted]] of occupation [[end insertion]] and she had suffered too much for her country's welfare to permit anyone to use her or her material for their own personal gain.  [[strikethrough]] when the art of her beloved country was at stake.  We were [[/strikethrough]]  She was playing for more than personal agrandisement [[sic]].  Only by keeping complete control of the situation, whether by ruse or stubborness, [[strikethrough]] Rose Valland [[/strikethrough]] could Rose be sure that worthy people, truly consumed with the same desire for truth and [[strikethrough]] [[?]] deceny [[/strikethrough]] decency as herself, would help bring back to France the works of art she had seen taken from their owners. [[strikethrough]] On the one hand [[two illegible words]] Of real significance [[/strikethrough]] they had been taken [[strikethrough]] from France to whom where they belonged [[/strikethrough]].