Michael resigns himself to another hectic exit. He tells Linc, "Get the keys." As Linc leans forward, Mahone snaps open his mobile and says excitedly, "Here we go, here we go." Kellerman's got it. He orders his little traffic flunkies to do their traffic-holding thing.
Linc and Michael quickly divest themselves of their chains. They have this conversation:
Michael: You know, we have no idea what's behind that door.
Linc: [sigh] Nope. You ready?
Michael: No. You?
Michael: Let's go.
And off they go. The law enforcement types begin firing right as Michael slips through the door, but he's able to retain enough presence of mind to slam the door shut and lock it. Moving with incongruous slowness, the cops spread out and begin to work around the doors. Mahone quickly trots off in exactly the opposite direction.
Cut to Michael and Linc running along the network of halls they've just entered. We see them running. We see Mahone running. It's all very tense and oh, who will run into who first and all, but honestly, I am sort of tapped out on pursuits at the moment, so at this point, unless they involve explosions, or a sequence where everyone runs into a parade and tangles with the marching band, or perhaps werewolves springing out of dark corners... it's not really worth going into. Although I will say this: with all the running around Mahone's done recently, his feet must be killing him. Those black oxfords really don't look like they'd do a lot to prevent shin splints either.
Mahone whips out his mobile and tells Kellerman, "They're in, and they're heading straight for you." We cut to Kellerman, nestled behind some impossibly large and grim weapon. "Armed?" he asks. Why does it matter? You're practically straddling a Howitzer, Kellerman, so unless the boys are coming at you with irons set to the "wool" level, you're probably okay. Mahone asks where Kellerman is so he can back him up, and by "back him up," he means "kill him." Kellerman's all, "Just keep driving those two toward me. They're boxed in."
Aaaaand -- switch! We're in Ness City, Kansas, and T-Bag is walking up Susan's front porch. He pulls off his hat -- it's worth noting here that he did this with Denise too, every time he talked to her, and I can't figure out if he honestly had some manners drilled into him as a child or if this is part of his constructed persona -- and walks up the stairs, looking nervous. He rings the bell. Susan's voice calls out, "Hold on one sec!" When she comes to the door, the same woman who was so in fear for her life that she abruptly relocated just flings that door wide open without bothering to see who it is, because she just assumes it's the food delivery guy.