I left off in this position, at the end of line 3, verse 3:
From here she pulls the sword up and over to the left, hopping onto the left foot. The sword circles down and up as she steps onto the right and touches the left. This move is a little like zuo xu bu liao in 32-sword.
Next she steps left, stabbing the sword down to the left, and then steps right, stabbing the sword right–this is somewhat like the optional flourish in Wudang sword. Then she hops onto the left, circling the sword overhead (from palm-up to palm-down). Then she steps back with the right, the sword turns palm-up, and she extends the sword to the right, left hand extended. Xie bu:
That’s the end of verse three. Now there is a two-line chorus. She does (more or less) you gong bu lan (no pause, keep going), but on the other side she skips on the left, then swings the sword all the way to the left as she steps out with the right. Then she swings the sword right while cross-stepping behind with the left into Xie bu:
Unwind all the way around (sword following overhead) and step out to the left. Fully spread-eagled here, facing front. The sword keeps swinging, lift the right knee facing stage left. Then step out to the right, stabbing up (facing back). Cross-step behind left, still facing back, left arm pointing to stage right:
Finally, unwind and step back with the right. Meanwhile, arc the sword down, leading with the point, across on the left, then circle it in front of the face (go from palm-up to palm-down, to palm-up, step back onto right, pulling the sword back with both hands. Step up on left and open to position shown.
The good news is, there is just one more instrumental verse, and then the form repeats to the end. Closing form is a little complicated, but the end is in sight.