Dead-character costume
Dead-character costumes are stage clothes worn by actors whose characters are killed off in movies and theatre productions. These costumes are usually distressed or prepared for special effects such as bullet hit squibs, simulating an actor getting shot. Bullet holes are made on the fabric where the squibs were attached. As a result, they usually cannot be reused and end up on the "dead-character rack". Typically, duplicate sets of identical costumes are prepared for the scene. They are kept for a period of time until the end of production, after which they can be  auctioned, and/or repaired and donated. Costumes used for bullet hit squibs. The simulation of an actor getting shot in movies or theatre productions involves using a bullet hit squib device that bursts out a small packet of fake blood hidden beneath the costume. Typically, at least three sets of identical clothing are used for the stunt and sometimes even six duplicates. One is used in prior scenes and also serves as a backup, while the remainders are used for dress rehearsals and once per take as the fabric gets torn and stained. The colour/contrast of the outfit should also  be light enough and/or sufficient lighting to show the bloodstain effect. Preparation of the costume. The number, sequence and locations of bullet holes (~50 mm large) on an actor to be shot are first determined. The bullet holes on the fabric are weakened by carefully scoring, sanding, grating or plunging a scoring tool from the inside so that it will be easier for the explosion to open the fabric up. From a distance, the fabric appears intact. The blast from the squib will rip through the weakened area, creating a frayed look at the same time. It is important to  verify this on trial set of costume, or at least at an area of the costume not visible to the camera even before a rehearsal. Because of the size and weight of the entire bullet hit squib setup (~50–75 mm/2-3" in diameter, ~15-25 mm/2/3"-1" thick, weighing ~30-50g), depending on the weight and thickness of the clothing fabric, it is either sewn or taped directly to the inside of the outfit (e.g. jacket) or to the actor (e.g. shirt). Wires connect the blood squibs to a switch and a battery board off camera, which may be hidden  within the costume itself or run down the pants leg to a technician. On jackets with multiple frontal squibs, the costumer may install an additional zip at the back to allow the actor to slip on the jacket without needing to disturb the squibs. The costumer should also ensure that all zips and buttons are fastened for visual and safety purposes to prevent recoil: thereby maximising the visual effect, as well as to prevent the blood pack and the wound-less clothing beneath from being revealed, and to avoid the squibs from aiming at unintended directions. Reusing dead-character costumes . While most clothing can only be used once per take, waterproof jackets or parkas (with a higher initial cost than for instance a shirt) can be reused by wiping off the fake blood between takes and by cutting the bullet holes on the fabric cleanly in a cross (+ or x) or star shape (*) and loosely taped back together on the inside, so no fraying/ripping is caused by the squib. This is especially beneficial for actors in stage productions who then wear the same piece for each show, and extras who fill multiple roles. Furthermore, using dry simulants like  dust, or down feathers (for the desired stylistic gunshot effect on a down jacket as the outfit worn by the actor), and/or using non-staining simulants like a water-filled "rehearsal pack" instead of the blood mixture for dress rehearsals further reduces the likelihood of staining. Further preparation of down jackets are required, however. The downproof taffeta lining beneath the outer fabric is kept intact to prevent the filling from leaking out. If no taffeta lining is present, then the filling should be repacked in a custom-made downproof "pocket" to maintain the quilted puffer appearance. Inner lining and filling  other than down are removed to access the site and to make the area as thin as possible to minimise bulging. For times when duplicate costumes cannot be sourced, blood stains can be convincingly simulated with painted-on nylon tulle meshing with an acrylic top coat instead. Ripped fabric portraying a bullet hole can also thus be built on top of the mesh. The advantage of this method enables the position of the blood stain to be movable. It is then sewn onto the fabric for the production and can be removed afterwards, effectively enabling the costume to be  reused without staining. The disadvantage with this method is that it cannot portray the blood spray effect with a bullet hit squib, so CGI may need to be employed to simulate this effect. Activation of squibs on set. On cue, the actor or the technician sets off the charge. A well-made, low profile bullet hit squib device should not be conspicuous beneath the costume, neither should the pre-scoring of the fabric if it is properly scored, as shown in the main figure. So in practice, the actor can wear the prepared outfit throughout a scene (especially for  stage productions) or even the entire day, including lunch breaks, although the power source should only be connected prior to the sequence to avoid accidental triggering. Conversely, the actor can also change into the prepared outfit just before the take, and only show the detonation sequence if duplicates are available. In any case, bullet holes that are visible on the fabric immediately before the squibs explode can also be erased during post-production. Spent and unspent costumes are kept until post-production is completed, as the director may elect to refilm extra footage. Afterwards, spent costumes can be auctioned as  memorabilia, repaired and/or donated, especially with winter coats.