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Following directions from a fan letter, Mima discovers a website called "Mima's Room" containing public diary entries written from her perspective, which has her daily life and thoughts recorded in great detail. During her former idol and acting career, she is joined by manager and former pop-idol Rumi Hidaka and her agent, Tadokoro. Mima confides in Rumi about "Mima's Room", but is advised to ignore it. Mima's first job is a minor role in a television detective drama called Double Bind; however, Tadokoro lobbies the producers of Double Bind, and succeeds in securing Mima a larger part that involves a rape scene. Despite Rumi's objections, Mima accepts the role, although this leaves her mentally distressed. On her way home, she sees her reflection dressed in her former idol outfit. The reflection claims she's "the real Mima". Between the ongoing stresses of filming Double Bind, her lingering regret over leaving CHAM!, her paranoia of being stalked, and her increasing obsession with "Mima's Room", Mima begins to suffer from psychosis: in particular, struggling to distinguish real life from her acting life, and having repeated apparently unreal sightings of her former self, "the real Mima". Several people who had been involved in her acting are murdered. Mima finds evidence in her closet which suggests her to be the prime suspect, and her mental instability makes her doubt her own memories and innocence, as she recalls brutally murdering perverted photographer Murano. Mima manages to finish shooting Double Bind, the final scene of which reveals that her character killed and assumed the identity of her sister due to trauma-induced dissociative identity disorder.

"Yellow Sky"Song Jin-sukHwang Seung-pil2:269. "Conti"Park Se-joonKim Min-ji3:4010. "By Chance"Lee Nyum2:2611. "Burning Light"Park Se-joonNa Sang-jin2:0512. "Pearly Rain"Park Se-joonNa Yoon-shik2:4413. "Tricky"Kim Dong-hyukLee Han-bum1:5914. "Shiny Morning"Song Jae-kyung3:0415. "Poop"Park Se-joonWoo Ji-hoon3:2816. "There's a Problem"Lee Nyum1:5217. "A Blank of Memory"Park Se-joon2:3918. "Hype"Kim Dong-hyukLee Han-bum1:5119.

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Watanabe envisioned each character as an extension of his own personality, or as an opposite person to himself. [30] Each character, from the main cast to supporting characters, were designed to be outlaws unable to fit into society. [31] Kawamoto designed the characters so they were easily distinguished from one another. [17] All the main cast are characterized by a deep sense of loneliness or resignation to their fate and past. [17] From the perspective of Brian Camp and Julie Davis, the main characters resemble the main characters of the anime series Lupin III, if only superficially, given their more troubled pasts and more complex personalities. [29] The show focuses on the character of Spike Spiegel (voiced by Kōichi Yamadera), an iconic space cowboy with green hair and often seen wearing a blue suit, with the overall theme of the series being Spike's past and its karmic effect on him. [32] Spike was portrayed as someone who had lost his expectations for the future, having lost the woman he loved, and so was in a near-constant lethargy. [17] Spike's artificial eye was included as Watanabe wanted his characters to have flaws. He was originally going to be given an eyepatch, but this decision was vetoed by producers. [31][33] Jet (voiced by Unshō Ishizuka) is shown as someone who lost confidence in his former life and has become cynical about the state of society. [17][32] Spike and Jet were designed to be opposites, with Spike being thin and wearing smart attire, while Jet was bulky and wore more casual clothing. [44] According to Kanno, the music was one of the first aspects of the series to begin production, before most of the characters, story, or animation had been finalized. The genres she used for its composition were western, opera, and jazz. [31] Watanabe noted that Kanno did not score the music exactly the way he told her to. He stated, "She gets inspired on her own, follows up on her own imagery, and comes to me saying 'this is the song we need for Cowboy Bebop', and composes something completely on her own. "[39] Kanno herself was sometimes surprised at how pieces of her music were used in scenes, sometimes wishing it had been used elsewhere, though she also felt that none of their uses were "inappropriate". She was pleased with the working environment, finding the team very relaxed in comparison with other teams she had worked with.