Cruickshank, 2001
Bray 1699
Duple minor longways

Al 1-2 1st man cross the set, passing his partner by the right shoulder, 
       to end between the two women, 2nd man moving a little to his left to face 1st man.       
   3-4 Line of three (taking hands) fall back and come forward, 2nd man also 
       falling back and coming forward.
A2 1-4 Hey on the women’s side: 1s pass partner by right shoulder into 
       a hey for three with 2nd woman (3 bars), women moving to men’s side 
       at the end of the hey (1st woman moving to her left, 2nd woman moving to her right; (1 bar), to
       meet 2nd man. At the same time 2nd man dance counterclockwise (skipping) around the other three 
       dancers, ending facing partner.

B  1-4 Hey on the men’s side, 2s passing partner by right shoulder to begin (3 bars), 
      women then moving to the center line (1st woman moving to her left, 2nd woman 
      moving to her right; 1 bar). At the same time, 1st man dance counterclockwise 
      (skipping) around the other three dancers, ending where he began. 
      Dancers’ are now in a diamond formation women on the center line, 1st woman 
      and 2nd man looking diagonally down the set to face their partners.
  5-6 Partners taking two hands, poussette straight back on the diagonal, 
      women going forward to begin (1 bar), then 1st man draw partner around 
      into progressed place proper (finishing a draw poussette), while 2nd woman pushes partner
      forward into progressed place proper (finishing a push-pull poussette). 
  7-8 Partners two-hand turn once around. 

Video: https://www.youtube.com/watch?v=Xj7d7pcleGE
Bray's dances are characterized by showy changes of direction, dramatic lines and circles, and astonishing transformations of perspective. Certainly, his “maggot” here—the remarkable shifting heys—inspired one of the choreographic masterpieces of the period.

no music