One word more, good lady.

Oh now he’s calling her good?
What the?
He makes his exit lines – his rhyming couplet cap on his blistering speech, the subtext of which is, “You’re a whore, mother.” And then he’s all “one word more, good lady.”
And then changes his tactic entirely.
First, he’s all like – “Abstain!”
And then essentially he’s like, “Actually, that’s bad idea.”
But it’s not entirely clear whether he wants her to not do what he told her to do before or not do what he’s about to tell her to do.
Ain’t nobody “Good” at this point in the play.

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