Nell leaned forward in his chair, put his elbows on his knees and said with a serious expression: 'I think they are cooking their books. Last night I told Adam I wanted to bring in an auditor, because things didn't look right. And when I heard over the radio this morning that he was dead ...'

'What made you think things were not right?'

'Well, to get sales figures had become like pulling teeth; it's very difficult to get something out of them. Then, last year, the money I received for some songs in compilations by independent labels ... It was a heck of a lot more than I expected. Then I started doing my own sums ...'

'So AfriSound is not your label?'

'No, they were, until February last year.'

'They made your CDs?'

'My contract was for three original albums and the option of a Greatest Hits. That came out last year, all with Adam.'

'And then you went to someone else?'

'No, I started my own label.'

'Because AfriSound cheated you?'

'No, no, I was not aware then that they were robbing me.'

Dekker leaned back in the comfortable chair. 'Mr Nell, can you start at the beginning, please?'

'I... please call me Ivan.'

Dekker nodded, impressed, but he didn't show it. He had expected an attitude: the man was famous, white and successful. But there was no ego, no talking down to a coloured policeman, just a genuine desire to help.

'At varsity I started playing in pubs, for pocket money mostly, around Nineteen ninety-six. I did English covers, Kristofferson, Cohen, Diamond, Dylan, that sort of thing, just me and my guitar. When I graduated in ninety-eight, I started going door to door to get gigs in Pretoria. I started singing in Cafe Amies, McGinty's, Maloney's, some places without pay. Nobody knew about me. I used to do two sets of English covers and the last set in Afrikaans with a couple of my own songs thrown in just to test the audience. Then it started happening, when the time came for the last set, the place would suddenly be full. The people would sing along. And the audiences grew bigger, like there was a hunger for Afrikaans stuff, like they wanted to belong somewhere, the students, the younger people. In any case, the gigs increased. Eventually I was playing six nights a week, making more money than I did at work, so I went full time in Two thousand. In Two thousand and one I made my own CD and I sold it at the shows . . .'

'For which label?'

'No, I didn't have a label.'

'How can you make a CD if you don't have a label?'

'You just have to have money. There was this guy at Hartebeespoort who had a studio in an outside room. I recorded it with him. He charged about sixty thousand then. I had to borrow the money ...'

'So why would you need a label?'

'For just about everything, but mostly for capital. If you want to make a decent album, a solid recording with good musicians and enough studio time, you need about two hundred thousand. I couldn't afford that. That first CD of mine was quite primitive, you can hear that. But you sit in the pub at night and sing, and then you tell people there's a CD, and they have had a couple of drinks and so they buy it, let's say ten per night, then you get your money back. But you can't play it on the radio; it's just not good enough. If you're with a label they pay for a band, a producer, sound engineer; they market the thing, distribute it - it's a whole different ball game.'

'So how did you end up with AfriSound?'

'Adam heard what was happening up there, about the audiences growing and so on. So he came up to listen and said he wanted to sign me. I mean, Adam Barnard, it's what a guy dreams about, he's this legend, Mr Afrikaans music. He gave me my big break; he put me on the map. I will always be grateful to him for that... Anyway, we signed for three albums and the option of a Greatest Hits. He said for the first one I must record my first album again with the best musicians. Adam produced it himself; it was a dream team. They paid RSG Radio to play the CD; the album went double platinum. It took more than three years, but we did well. So did the next two albums, and the Greatest Hits, all platinum already.'

'So why don't you want to sing with AfriSound any more?'

'Many reasons. Look, the big labels are going to squeeze every cent out of you. They make big promises, but they don't always keep them .. . but in the end it's about margins. From a record company you get twelve per cent, sometimes less. But on your

own you get everything less input costs, eighty, eighty-five per cent once you've recouped your studio expenses. That is one heck of a difference. And now I have the capital to rent a decent studio long enough to make the best possible product.'

'What do you mean when you say you "did well"? What amounts are we talking about?'

'Look, it depends ...' Uncomfortable, as though he didn't really want to talk about it.

'Plus minus.'

'Jonkmanskas was my first album with Adam. It only did fifteen thousand in the first year, but you have to build your brand, because if people like your second album they will go back and buy your first. So, Jonkmanskas started reasonably, but now it's on a hundred and fifty thousand ...'

'And what is your share of that?'

'That also depends on whether I sold it myself at a concert or if you bought it in a shop.'

Dekker sighed. 'Ivan, I'm trying to get my head around the music business. Give me a ball-park figure of what you earn with a CD. Nowadays.'

Nell sat up slowly, still uncomfortable with the subject. 'Let's say about seven hundred and fifty, over three to four years.'

'Seven hundred and fifty thousand?'

'Yes.'

'Fuck,' said Dekker and made a note in his book. 'Now how did they cheat you?'

'It may sound like a lot of money, Inspector, but that is before tax, and there are a lot of expenses ...'

'How did they cheat you?'

'I don't know. That's why I want to bring in an auditor.'

'Surely you must have a theory?'

'Well, last year, I did three songs for compilation albums - one for Sean Else's rugby CD and two for Jeremy Taylor, a country album and Christmas album. Sean and Jeremy are independents, and when I got the rugby CD money, I started wondering, because it was a shitioad of money, proportionately much more

than I was getting from Adam and them. When the country CD payment came, it was the same story. So I looked carefully at the statements, at the deductions and sales and royalties, and the more I looked, the less sense it made. You must remember, on a compilation album you are one of ten or more artists; so you would be getting roughly ten per cent, say, of the royalties you would usually receive. I wasn't expecting much. In the end it was good money. Then I started getting suspicious.'

'And you spoke to Adam Barnard?'

'I phoned him about a week ago, and said I wanted to come and see him. I didn't say why; I just said I wanted to talk about my contract. He said let's go and have a relaxed dinner.'

'And that was last night?'

'That's right.'

'What was his reaction?'

'He said that as far as he knew, they had nothing to hide. When I said I wanted to bring my own auditor, he said "no problem".'

'And then?'

'He offered me a new contract. I said "no thank you". And that was that. So we talked about other things. Adam ... He was great company, as always. His stories ... The thing is, usually Adam will party to twelve or one o'clock, he never tires. But last night, at about half past nine, he said he had to make a quick phone call, and he went and stood outside to phone, and when he came in he said he had to leave. We got the bill and we left about ten o'clock.'

Dekker looked at Barnard's diary. Alongside 19:00 was written Ivan Nell - Bizerca but there were no further entries for later that night. He made a note in his notebook: Cell phone 21:30?? and wondered what had happened to Adam Barnard's cell phone, because it wasn't on the scene that morning.