by David Grann
By the mid-nineties, Bourdin had accumulated a criminal record for lying to police and magistrates, and Interpol and other authorities were increasingly on the lookout for him. His activities were also garnering media attention. In 1995, the producers of a popular French television show called “Everything Is Possible” invited him on the program. As Bourdin appeared onstage, looking pale and prepubescent, the host teasingly asked the audience, “What’s this boy’s name? Michael, Jürgen, Kevin, or Pedro? What’s his real age—thirteen, fourteen, fifteen?” Pressed about his motivations, Bourdin again insisted that all he wanted was love and a family. It was the same rationale he always gave, and, as a result, he was the rare impostor who elicited sympathy as well as anger from those he had duped. (His mother has a less charitable interpretation of her son’s stated motive: “He wants to justify what he has become.”)
The producers of “Everything Is Possible” were so affected by his story that they offered him a job in the station’s newsroom, but he soon ran off to create more “interior fictions,” as one of the producers later told a reporter. At times, Bourdin’s deceptions were viewed in existential terms. One of his devotees in France created a Web site that celebrated his shape-shifting, hailing him as an “actor of life and an apostle of a new philosophy of human identity.”
One day when I was visiting Bourdin, he described how he transformed himself into a child. Like the impostors he had seen in films such as “Catch Me If You Can,” he tried to elevate his criminality into an “art.” First, he said, he conceived of a child whom he wanted to play. Then he gradually mapped out the character’s biography, from his heritage to his family to his tics. “The key is actually not lying about everything,” Bourdin said. “Otherwise, you’ll just mix things up.” He said that he adhered to maxims such as “Keep it simple” and “A good liar uses the truth.” In choosing a name, he preferred one that carried a deep association in his memory, like Cassis. “The one thing you better not forget is your name,” he said.
He compared what he did to being a spy: you changed superficial details while keeping your core intact. This approach not only made it easier to convince people; it allowed him to protect a part of his self, to hold on to some moral center. “I know I can be cruel, but I don’t want to become a monster,” he said.
Once he had imagined a character, he fashioned a commensurate appearance—meticulously shaving his face, plucking his eyebrows, using hair-removal creams. He often put on baggy pants and a shirt with long sleeves that swallowed his wrists, emphasizing his smallness. Peering in a mirror, he asked himself if others would see what he wanted them to see. “The worst thing you can do is deceive yourself,” he said.
When he honed an identity, it was crucial to find some element of the character that he shared—a technique employed by many actors. “People always say to me, ‘Why don’t you become an actor?’” he told me. “I think I would be a very good actor, like Arnold Schwarzenegger or Sylvester Stallone. But I don’t want to play somebody. I want to be somebody.”
In order to help ease his character into the real world, he fostered the illusion among local authorities that his character actually existed. As he had done in Orthez, he would call a hot line and claim to have seen the character in a perilous situation. The authorities were less likely to grill a child who appeared to be in distress. If someone noticed that Bourdin looked oddly mature, however, he did not object. “A teen-ager wants to look older,” he said. “I treat it like a compliment.”
Though he emphasized his cunning, he acknowledged what any con man knows but rarely admits: it is not that hard to fool people. People have basic expectations of others’ behavior and are rarely on guard for someone to subvert them. By playing on some primal need—vanity, greed, loneliness—men like Bourdin make their mark further suspend disbelief. As a result, most cons are filled with logical inconsistencies, even absurdities, which seem humiliatingly obvious after the fact. Bourdin, who generally tapped into a mark’s sense of goodness rather than into some darker urge, says, “Nobody expects a seemingly vulnerable child to be lying.”
In October, 1997, Bourdin told me, he was at a youth home in Linares, Spain. A child-welfare judge who was handling his case had given him twenty-four hours to prove that he was a teen-ager; otherwise, she would take his fingerprints, which were on file with Interpol. Bourdin knew that, as an adult with a criminal record, he would likely face prison. He had already tried to run away once and was caught, and the staff was keeping an eye on his whereabouts. And so he did something that both stretched the bounds of credulity and threatened to transform him into the kind of “monster” that he had insisted he never wanted to become. Rather than invent an identity, he stole one. He assumed the persona of a missing sixteen-year-old boy from Texas. Bourdin, now twenty-three, not only had to convince the authorities that he was an American child; he had to convince the missing boy’s family.
According to Bourdin, the plan came to him in the middle of the night: if he could fool the judge into thinking that he was an American, he might be let go. He asked permission to use the telephone in the shelter’s office and called the National Center for Missing and Exploited Children, in Alexandria, Virginia, trolling for a real identity. Speaking in English, which he had picked up during his travels, he claimed that his name was Jonathan Durean and that he was a director of the Linares shelter. He said that a frightened child had turned up who would not disclose his identity but who spoke English with an American accent. Bourdin offered a description of the boy that matched himself—short, slight, prominent chin, brown hair, a gap between his teeth—and asked if the center had anyone similar in its database. After searching, Bourdin recalls, a woman at the center said that the boy might be Nicholas Barclay, who had been reported missing in San Antonio on June 13, 1994, at the age of thirteen. Barclay was last seen, according to his file, wearing “a white T-shirt, purple pants, black tennis shoes and carrying a pink backpack.”
Adopting a skeptical tone, Bourdin says, he asked if the center could send any more information that it had regarding Barclay. The woman said that she would mail overnight Barclays missing-person flyer and immediately fax a copy as well. After giving her the fax number in the office he was borrowing, Bourdin says, he hung up and waited. Peeking out the door, he looked to see if anyone was coming. The hallway was dark and quiet, but he could hear footsteps. At last, a copy of the flyer emerged from the fax machine. The printout was so faint that most of it was illegible. Still, the photograph’s resemblance to him did not seem that far off. “I can do this,” Bourdin recalls thinking. He quickly called back the center, he says, and told the woman, “I have some good news. Nicholas Barclay is standing right beside me.”
Elated, she gave him the number of the officer in the San Antonio Police Department who was in charge of the investigation. This time pretending to be a Spanish policeman, Bourdin says, he phoned the officer and, mentioning details about Nicholas that he had learned from the woman at the center—such as the pink backpack—declared that the missing child had been found. The officer said that he would contact the F.B.I. and the U.S. Embassy in Madrid. Bourdin had not fully contemplated what he was about to unleash.
The next day at the Linares shelter, Bourdin intercepted a package from the National Center for Missing and Exploited Children addressed to Jonathan Durean. He ripped open the envelope. Inside was a clean copy of Nicholas Barclay’s missing-person flyer. It showed a color photograph of a small, fair-skinned boy with blue eyes and brown hair so light that it appeared almost blond. The flyer listed several identifying features, including a cross tattooed between Barclay’s right index finger and thumb. Bourdin stared at the picture and said to himself, “I’m dead.” Not only did Bourdin not have the same tattoo; his eyes and hair were dark brown. In haste, he burned the flyer in the shelter’s courtyard, then went into the bathroom and bleached his hair. Finally, he had a friend, using a needle and ink from a pen, give him a makeshift tattoo resembling Barclay’s.
Still, there was the matter of Bourdin’s eyes. He tried to conceive of a story that would explain his appearance. What if he had been abducted by a child sex ring and flown to Europe, where he had been tortured and abused, even experimented on? Yes, that could explain the eyes. His kidnappers had injected his pupils with chemicals. He had lost his Texas accent because, for more than three years of captivity, he had been forbidden to speak English. He had escaped from a locked room in a house in Spain when a guard carelessly left the door open. It was a crazy tale, one that violated his maxim to “keep it simple,” but it would have to do.
Soon after, the phone in the office rang. Bourdin took the call. It was Nicholas Barclay’s thirty-one-year-old half sister, Carey Gibson. “My God, Nicky, is that you?” she asked.
Bourdin didn’t know how to respond. He adopted a muffled voice, then said, “Yes, it’s me.”
Nicholas’s mother, Beverly, got on the phone. A tough, heavyset woman with a broad face and dyed-brown hair, she worked the graveyard shift at a Dunkin’ Donuts in San Antonio seven nights a week. She had never married Nicholas’s father and had raised Nicholas with her two older children, Carey and Jason. (She was divorced from Carey and Jason’s father, though she still used her married name, Dollarhide.) A heroin addict, she had struggled during Nicholas’s youth to get off drugs. After he disappeared, she had begun to use heroin again and was now addicted to methadone. Despite these difficulties, Carey says, Beverly was not a bad mother: “She was maybe the most functioning drug addict. We had nice things, a nice place, never went without food.” Perhaps compensating for the instability in her life, Beverly fanatically followed a routine: working at the doughnut shop from 10 P.M. to 5 A.M., then stopping at the Make My Day Lounge to shoot pool and have a few beers, before going home to sleep. She had a hardness about her, with a cigarette-roughened voice, but people who know her also spoke to me of her kindness. After her night shift, she delivered any leftover doughnuts to a homeless shelter.
Beverly pulled the phone close to her ear. After the childlike voice on the other end said that he wanted to come home, she told me, “I was dumbfounded and blown away.”
Carey, who was married and had two children of her own, had often held the family together during Beverly’s struggles with drug addiction. Since Nicholas’s disappearance, her mother and brother had never seemed the same, and all Carey wanted was to make the family whole again. She volunteered to go to Spain to bring Nicholas home, and the packing-and-shipping company where she worked in sales support offered to pay her fare.
When she arrived at the shelter, a few days later, accompanied by an official from the U.S. Embassy, Bourdin had secluded himself in a room. What he had done, he concedes, was evil. But if he had any moral reservations they did not stop him, and after wrapping his face in a scarf and putting on a hat and sunglasses he came out of the room. He was sure that Carey would instantly realize that he wasn’t her brother. Instead, she rushed toward him and hugged him.
Carey was, in many ways, an ideal mark. “My daughter has the best heart and is so easy to manipulate,” Beverly says. Carey had never travelled outside the United States, except for partying in Tijuana, and was unfamiliar with European accents and with Spain. After Nicholas disappeared, she had often watched television news programs about lurid child abductions. In addition to feeling the pressure of having received money from her company to make the trip, she had the burden of deciding, as her family’s representative, whether this was her long-lost brother.
Though Bourdin referred to her as “Carey” rather than “sis,” as Nicholas always had, and though he had a trace of a French accent, Carey says that she had little doubt that it was Nicholas. Not when he could attribute any inconsistencies to his unspeakable ordeal. Not when his nose now looked so much like her uncle Pat’s. Not when he had the same tattoo as Nicholas and seemed to know so many details about her family, asking about relatives by name. “Your heart takes over and you want to believe,” Carey says.
She showed Bourdin photographs of the family and he studied each one: this is my mother; this is my half brother; this is my grandfather.
Neither American nor Spanish officials raised any questions once Carey had vouched for him. Nicholas had been gone for only three years, and the F.B.I. was not primed to be suspicious of someone claiming to be a missing child. (The agency told me that, to its knowledge, it had never worked on a case like Bourdin’s before.) According to authorities in Madrid, Carey swore under oath that Bourdin was her brother and an American citizen. He was granted a U. S. passport and, the next day, he was on a flight to San Antonio.
For a moment, Bourdin fantasized that he was about to become part of a real family, but halfway to America he began to “freak out,” as Carey puts it, trembling and sweating. As she tried to comfort him, he told her that he thought the plane was going to crash, which, he later said, is what he wanted: how else could he escape from what he had done?
When the plane landed, on October 18, 1997, members of Nicholas’s family were waiting for him at the airport. Bourdin recognized them from Carey’s photographs: Beverly, Nicholas’s mother; Carey’s then husband, Bryan Gibson; Bryan and Carey’s fourteen-year-old son, Codey, and their ten-year-old daughter, Chantel. Only Nicholas’s brother, Jason, who was a recovering drug addict and living in San Antonio, was absent. A friend of the family videotaped the reunion, and Bourdin can be seen bundled up, his hat pulled down, his brown eyes shielded by sunglasses, his already fading tattoo covered by gloves. Though Bourdin had thought that Nicholas’s relatives were going to “hang” him, they rushed to embrace him, saying how much they had missed him. “We were all just emotionally crazy,” Codey recalls. Nicholas’s mother, however, hung back. “She just didn’t seem excited” the way you’d expect from someone “seeing her son,” Chantel told me.
Bourdin wondered if Beverly doubted that he was Nicholas, but eventually she, too, greeted him. They all got in Carey’s Lincoln Town Car and stopped at McDonald’s for cheeseburgers and fries. As Carey recalls it, “He was just sitting by my mom, talking to my son,” saying how much “he missed school and asking when he’d see Jason.”
Bourdin went to stay with Carey and Bryan rather than live with Beverly. “I work nights and didn’t think it was good to leave him alone,” Beverly said. Carey and Bryan owned a trailer home in a desolate wooded area in Spring Branch, thirty-five miles north of San Antonio, and Bourdin stared out the window as the car wound along a dirt road, past rusted trucks on cinder blocks and dogs barking at the sound of the engine. As Codey puts it, “We didn’t have no Internet, or stuff like that. You can walk all the way to San Antonio before you get any kind of communication.”
Their cramped trailer home was not exactly the vision of America that Bourdin had imagined from movies. He shared a room with Codey, and slept on a foam mattress on the floor. Bourdin knew that, if he were to become Nicholas and to continue to fool even his family, he had to learn everything about him, and he began to mine information, secretly rummaging through drawers and picture albums, and watching home videos. When Bourdin discovered a detail about Nicholas’s past from one family member, he would repeat it to another. He pointed out, for example, that Bryan once got mad at Nicholas for knocking Codey out of a tree. “He knew that story,” Codey recalls, still amazed by the amount of intelligence that Bourdin acquired about the family. Beverly noticed that Bourdin knelt in front of the television, just as Nicholas had. Various members of the family told me that when Bourdin seemed more standoffish than Nicholas or spoke with a strange accent they assumed that it was because of the terrible treatment that he said he had suffered.
As Bourdin came to inhabit the life of Nicholas, he was struck by what he considered to be uncanny similarities between them. Nicholas had been reported missing on Bourdin’s birthday. Both came from poor, broken families; Nicholas had almost no relationship with his father, who for a long time didn’t know that Nicholas was his son. Nicholas was a sweet, lonely,
combustible kid who craved attention and was often in trouble at school. He had been caught stealing a pair of tennis shoes, and his mother had planned to put him in a youth home. (“I couldn’t handle him,” Beverly recalls. “I couldn’t control him.”) When Nicholas was young, he was a diehard Michael Jackson fan who had collected all the singer’s records and even owned a red leather jacket like the one Jackson wears in his “Thriller” video.
According to Beverly, Bourdin quickly “blended in.” He was enrolled in high school and did his homework each night, chastising Codey when he failed to study. He played Nintendo with Codey and watched movies with the family on satellite TV. When he saw Beverly, he hugged her and said, “Hi, Mom.” Occasionally on Sundays, he attended church with other members of the family. “He was really nice,” Chantel recalls. “Really friendly.” Once, when Carey was shooting a home movie of Bourdin, she asked him what he was thinking. “It’s really good to have my family and be home again,” he replied.
On November 1st, not long after Bourdin had settled into his new home, Charlie Parker, a private investigator, was sitting in his office in San Antonio. The room was crammed with hidden cameras that he deployed in the field: one was attached to a pair of eyeglasses, another was lodged inside a fountain pen, and a third was concealed on the handlebars of a ten-speed bicycle. On a wall hung a photograph that Parker had taken during a stakeout: it showed a married woman with her lover, peeking out of an apartment window. Parker, who had been hired by the woman’s husband, called it the “money shot.”