Spoilers follow for both parts, Kid’s disguises, Wakita’s Rum identity and the unresolved older man in the final scene.
Kaitou Kid and the Crown Trick (Part 1) and Kaitou Kid and the Crown Trick (Part 2) are international episodes 1208-1209 (Japanese episodes 1150-1151), adapted from Volume 103, Files 1100-1102. Kid first makes the crown appear to vanish without removing it, then crosses the security corridor before drawing the crown after him on a wire.
He is disguised as antiques appraiser Bunji Karino among the three suspects, and later as Azusa Enomoto. The case resolves those deceptions while leaving the intent of an older man watching news about Conan uncertain.
The crown and the three-second corridor
Jirokichi Suzuki of the Suzuki Financial Group receives Kid’s notice targeting a crown containing an exceptionally large tourmaline, the Siren Splash. It is displayed on the sixtieth floor of the Suzuki building. Conan, Ran and Sonoko arrive to inspect the security, with Inspector Ginzo Nakamori also involved in the challenge.
The exhibition room has only one entrance, protected by the Fujin Road corridor. Moving the crown even slightly triggers the entrance’s closure, giving a thief only three seconds to get through. The apparent problem is how anyone could carry the crown out quickly enough.
The three principal disguise candidates are exhibition supervisor Seria Ando, jewel appraiser Chikayo Nakajo and antiques appraiser Bunji Karino. Keeping the candidates limited makes the identity puzzle readable, while the corridor presents a separate mechanical challenge.
Why the ketchup incident creates an opportunity
Before the appraisal, ketchup spurts out during a meal and soils clothing. Washing or changing clothes gives people a natural reason to leave their places. Kid uses that disruption to move from a riot-police disguise into Karino’s identity.
The episode attributes the eruption to baking soda added to the ketchup. The lighter-looking stain on Azusa’s shoulder becomes another observation connected to that interference. What initially plays like a small comic accident is part of the arrangement that lets Kid change appearances without making the absence itself conspicuous.
The crown disappears visually before it moves physically
Kid applies light-absorbing black paint to the crown’s reverse side. Turning it over makes it look as though it has disappeared, even though it remains on the display. Because the object has not yet been removed, the corridor does not react as an audience expecting an immediate theft would anticipate.
Karino’s dusting spray provides the relevant means of applying the coating and identifies the disguise behind the effect. The first trick therefore exploits the difference between failing to see the crown and the crown actually leaving its position.
For the removal, Kid reverses the order everyone has assumed. He passes through the corridor first, then pulls the wired crown toward himself. The three-second restriction begins when the crown moves, after he has already traversed the route. He does not need to run that route carrying it.
How Amuro distinguishes the two Azusas
Azusa’s early appearance seems ordinary: she says she has come with Tooru Amuro to deliver sandwiches for the guards. Yet her request to hear later how Kid handles the corridor focuses unusually closely on the mechanism at the center of the challenge. In retrospect, that curiosity is worth questioning, even before the two-Azusa problem becomes explicit.
When Conan must distinguish the real Azusa from Kid’s impersonation, he asks Amuro for help. Amuro uses the phone’s speaker to make a sudden declaration of romantic interest in Azusa. One responds delightedly; the other reacts with baffled irritation. Amuro identifies the irritated woman as the real Azusa.
The test rests on their existing working relationship. Azusa has found the rumors created by Amuro’s popularity troublesome, especially when she is seen with him. An abrupt declaration from him is therefore more likely to make her question the joke than welcome the attention. The scene is a way of exposing a performance, not confirmation of a romance.
Wakita’s questions are more than casual conversation
Kanenori Wakita appears while collecting sushi containers and asks Conan about Rumi Wakasa. Conan quickly describes her as an ordinary, slightly clumsy teacher. His deliberately light answer avoids giving Wakita useful detail about someone Conan himself has been watching closely.
The exchange follows Wakasa’s earlier glare at Wakita through a window during the time-capsule story involving Akemi Miyano. His question suggests that her attention has registered and that he is beginning to investigate her in return. It does not require assuming that Conan has fully chosen a side between them.
Wakita declines an invitation to help catch Kid, then privately reflects that things would be different if he still had his left eye. With Wakita’s identity as Rum already part of the spoiler context, that thought points toward an ability or advantage associated with the lost eye. This brief scene does not explain the full ability or demonstrate it in action.
The eye reference also links the episode’s atmosphere to the Koji Haneda storyline. Kid’s showmanship occupies the foreground, but Wakita’s question and private recollection ensure that a different kind of danger remains nearby. They are clues toward the larger story, not part of the crown mechanism.
The man with the cane is still an unanswered question
At the end, a stern older man looks at a phone displaying news that credits Conan with another success against Kid. The image shows Conan with Jirokichi. The man smashes the screen with his cane, abruptly replacing the heist’s playful finish with hostility.
The anime’s emphasis on Conan in the image makes Conan a plausible focus of that hostility. It does not establish the reason for it, the man’s precise objective or whether he is acting as an enemy in every relevant sense. The reaction supplies menace before it supplies an identity.
He appears distinct from the respirator-wearing man associated with the earlier hotel episode. Their scenes should therefore not be merged into one observer’s actions merely because both figures are elderly and mysterious. One scene centers on seeing Mary; this one places a news image of Conan under the cane.
Renya Karasuma is one proposed identity, but it remains unconfirmed. The hawk-like decoration on the cane can be contrasted with Karasuma’s crow imagery as a possible reason to question that theory. A visual motif is not strong enough on its own to confirm or rule out the identity.
Why the smaller tricks matter as much as the crown
The ketchup disruption, the dusting spray and Azusa’s response each test a different weakness in an assumed identity. Kid can change clothes and appearances, but the details of how a person handles an object or responds to a colleague still matter. The heist is satisfying because its solution reaches back to those apparently casual moments.
The same two-part story then places questions about Wakasa, Rum’s eye and the man with the cane beside the solved illusion. The crown’s disappearance has an explanation; those observers’ intentions do not yet have equally complete answers. That imbalance is what makes the closing scene stay with the case.
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