Free Lion Called Christian by Anthony Bourke Page B

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    We began to think how we could have designed a more sympathetic compound for Christian that would have resulted in his feeling less restricted. Why do so many animals in zoos have to live in compounds and cages that have such monotonous symmetry, no variety, practical but cold cement floors, and no evidence of any imagination in their design? Why not have compounds where humans walk through an enclosed corridor into the center and where the animals have the freedom to walk almost entirely around the humans? There would be at least some transference of the feeling of restriction. Looking back, we are happy to note that some of these ideas have been incorporated into the redesigning and building of some enclosures, and the animals' well-being has become a priority. Frankfurt Zoo in Germany has been a leader in this field, and at Taronga Conservation Society Australia, some imaginative enclosures have been designed.
    We waited for so long at Leith Hill that Christian outgrew his crate. We noticed that when he was shut in, he sometimes frustratedly pawed the vertical bars and rubbed his pads quite raw. For his next-larger crate, we requested that the bars be placed horizontally, which would make it impossible for him to injure himself in this way. Although the company that made the crate had been supplying zoos and animal dealers for many years, they had never been asked to make this very obvious improvement. This seemed indicative of just how insensitive animal traders were.
    After three months at Leith Hill, we were beginning to despair that George would ever find a suitable site for Christian's rehabilitation, and we dreaded any alternative we might be forced to consider. We were depressed by the ongoing delay and the cramped living conditions. By now we were less starstruck, and we questioned how we were being portrayed in the film. We feared Christian was becoming just another animal in another Bill Travers and Virginia McKenna wildlife documentary. But Christian's story was unique. He was the undoubted star of the film, and we were all bit players. As in London, when the situation with Christian seemed to be approaching breaking point, the next stage in his life emerged just in time. A cable arrived from George Adamson. Christian would be leaving England for Kenya in a few days.

A t 3:30 P.M. on August 22, 1970, Christian was led into his crate, not for the customary few minutes, but for at least fifteen hours. Pouring rain was to be his last memory of England. He was fed mild tranquilizers in pieces of meat, and then we carried his crate to the van that was to take him to London's Heathrow Airport. Lions have no luggage, and we could leave his leash behind as there would be no further use for it. Unity had of course come to Leith Hill to say good-bye to him and tearfully promised to visit him in Kenya.
    Following Bill and Virginia in their car, we traveled to the airport in the van with Christian, who was confused but not alarmed. The car with our cameraman was stopped by the police for filming without a permit, for cutting across traffic, and causing an obstruction. But the combination of Virginia McKenna and a lion on his way to Africa persuaded the surprised policeman to be lenient, and the convoy was allowed to proceed. At Heathrow we drove straight out onto the tarmac and parked beside the East African Airways plane. Burlap was tied around the crate as insulation against the cold on the long night flight. The tranquilizers were proving effective, for Christian was quite relaxed, despite the noise from other aircraft and the curious crowd that had gathered. At 5:30 P-M., Christian's crate was forklifted into the small pressurized hold of the plane. It was a dramatic and worrying moment when we all realized there was a possibility that in the hold, alone among the luggage,