Most of the ensemble steps into the spotlight a couple times, though, as everything from named historical figures like Samuel Seabury and James Reynolds to small speaking roles, and the Bullet is no different.
Once she has successfully gotten the pair to pull their guns on each other's, she appears for a final time as the actual bullet, slowly approaching Hamilton throughout the entirety of his final monologue and coming dangerously close to him as he moves, scatter-brained, across the stage.
Halfway through, he steps right in her path, turns back and stumbles out of the way, and as he frantically repeats, "Rise up, rise up, rise up," she lunges for him, only to be pulled back by another ensemble member as Eliza steps in her path.
At the start of "Your Obedient Servant," when Burr actually challenges Hamilton, the Bullet actually pulls Burr's desk onto the stage and hands him his quill so that he can begin his fateful letters, edging his toward the battlefield.
Every action she takes ensures that Hamilton meets her one last time.
Knowing that the Bullet is fully aware of the final meeting she and Hamilton are hurtling toward makes the short moment in "Ten Duel Commandments" when Hamilton looks at her lining up beside him, the only time he ever seems to truly see her before his final moments, and the pair stand side by side for numbers six and seven of the Commandments, moving through the choreography in sync, feel hugely significant in a way it never would otherwise.
Several songs later, during "Yorktown," she kills a redcoat with Laurens in South Carolina.
They begin the show as most ensembles do: as dancers, unseen voices, and background/one-off characters, but quickly begin to morph out of those common molds within the first ten songs.
By the middle of the first act, they have become a manifestation of thought, mainly Hamilton's (the repetition of "My Shot" at the end of "Right Hand Man" sticks out in particular) and Burr's ("Wait For It"), and as Act I closes, they morph into a full-on Greek Chorus, knowing Hamilton's future and warning him of what is to come.
Though her connection to death is most apparent in Act II, she is absolutely present and aware of his role as the Bullet from the beginning.
When asked about playing the Bullet in an interview with "The Great Discontent," Ariana De Bose, the original Bullet, said, "I always know I’m aiming for him—even if the rest of the ensemble members don’t.
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