Oh, go on then, time for another tale from me.
...apparently, it was a story about how the CIA started. Which, it seems, was a group of (mostly) British Army/Intelligence officers in Britain in WW2. There was a (NEFARIOUS NAZI PLOT) happening, and word had gotten to the central cabal of this proto-CIA (not SOE, SIS or any other MI#/TLA) being led by a British major, or maybe colonel, being referred to with a codename beginning with C. Not Charlie (or Cain or Canteen), but supposedly a phonetic-alphabet word of the time.
Signal intelligence pinpointed a barn, in which (NEFARIOUS NAZI PLOT) was obviously going on in, but though those inside were detained for "doing something wrong", the plot itself was not uncovered properly.
Next thing you know, it's the aftermath of D-Day with planes/gliders/jeeps/jeeps-that-fly-and/or-glide arriving in a field deep in France, on the way to capturing a chateau previously used by German High Command but now filled with a load of detained Good Germans who had surrended to the allied forces. Apparently the proto-CIA individuals were now just part of the general war effort, not together specifically, but (with the typical coincidence of a film script) they still find themselves nearby, most of them.
This is exemplified by the fact that suddenly all the telephones in the chateau ringing (and, apparently blaring out with a voice, suggesting more sophisticated technology) for the attention of C(whatever), who had actually rebranded himself with the codename "Angel" after the previous 'success'. On the other end of the line was a previously missing Cabalist who had 'hacked' into the phone-system (as a viewer of the action, I took this to mean that he'd got into the switchboard room and massively cross-linked all the internal lines, but it certainly impressed the characters) wanting to tell everyone about one of the Germans being a Bad German (maybe, or maybe not, involved in the (NEFARIOUS NAZI PLOT)). One of the markers for this was his leather trousers, or something, but aside from lazy cinematic outfitting (and lazier still script-writing and some degree of typical plot blindness), and said individual was promptly dressed-down (verbally and sartorially) by C/Angel. Ironically, making him look more like the rest of the inmates.
And, ummm... then he ends up outside, in the street of the ajoining French town (being remarkably geographically consistent, compared with some dreams I have), and either hijacks or accidentally ends up on a hospital trolley that he rides down a hill. Coincidentally another prior Cabal member (a huge, lunking 'Joe Indian' type, one of the few actual Americans of any kind, and ironically so in kany ways) happened to be passing and takes another hospital trolley (from where?) to recklessly pursue the fugitive escapee.
Threatening to devolve into a choreographed action sequence tacked onto what had been more a psychological drama, as a remote viewer of this action I then seem to concentrate upon a location some way ahead of the trolley-riding. (It's in a boulder-strewn desert, and it's night instead of the daylight of the extefnal scene just seen, so geography/chronology has predictably broken down after all!) What we see here are two soldiers (maybe GIs, maybe Tommies) carrying a huge ornate picture-framd with (though its reverse is to our viewpoint) a huge ornate canvas oil-painting in it. It's either being looted or de-looted, we are led to understand, but exactly which is left ambiguous.
The scene is obviously going to be the location of the comedy-insert part of the action chase that we know is continuing, but that is actually getting no screen-time at all. 'We', by now, means me and the at least one other person (not visible, just present and talking) actually watching this action unfold on an actual screen of some kind. We seem to have given up on this being a dream-story, it's now a dream about watching a film with this story in it
The haiatus of the action and the totally-telegraphed look-ahead mean that this one (or more) other person(s) confidently predicts that it'll be the classic 'smash through the carried item' gag, and likely even be a 'leave a human-shaped hole' cliche. At least for the first troller-rider, then the second one somehow finishes the job. I don't say so (do I need to? Isn't this just another bit of me speaking, anyway??) but I agree with the prediction.
Minutes pass by (should be tedious or frustrating, but it isn't, perhaps it's the running commentary by myself to myself that's making the interesting cinemtographical decision to long-cut away from the action less distracting) until "whumf!", and there's a human-shaped-hole in the canvas. No idea about the trolley, BTW, it must have passed through the exact same gap. And it is heavily implied, though we never see the front of the canvas to be sure, that the human-shaped-hole actually matches up exactly with what had been a figure in the painting. A classic Harold Lloyd/Buster Keaton sight-gag, that we still don't see.
Expectation is now that the hurtling indian will coup-de-gras the scene by doing something with his own human-shaped-hole, like creating a tableau with his addition (again matching the image we haven't seen), perhaps comical. Or it'd modify the original hole to something else (perhaps in conjunction with the later reveal of the image front), or the whole setup just gets blasted apart to make a point. Such is the discussion we're having, there's plenty of that in the time we're waiting.
But then I wake up!