Pregnant Taxi Driver Takes a Homeless Man to the Hospital, Next Morning She Sees a Motorcade of SUVs Outside Her Window

On a rainy night, a very pregnant taxi driver stops to help a homeless, injured stranger, offering him a free ride to the hospital. But the next morning, she wakes to find a convoy of SUVs outside her house, with suited men waiting to share a truth that would change her life forever.

Cleo had been driving taxis for two years, and by now, she’d seen it all: late-night partiers stumbling home, families racing to catch flights, and remorseful businessmen smelling of cocktails and secrets. She’d heard countless stories, dried her fair share of tears, and learned to read people before they even stepped into her cab.

As she navigated the foggy streets, her back ached, and her unborn baby’s kicks pressed against her ribs—a reminder that her night shifts were becoming unbearable. But bills didn’t stop for anyone, so she whispered to her belly, “Just a few more hours, love. Then we can go home to Chester.” She imagined her orange tabby, Chester, sprawled on her pillow at home, shedding fur everywhere as her only true companion.

Her mind drifted back to the heartbreak she’d endured only five months ago. She had excitedly shared the news of her pregnancy with her husband, Mark, only to learn he’d been unfaithful with his secretary, Jessica, who was also expecting. Within weeks, Mark left and drained their bank account, leaving Cleo to work endless shifts to provide for the baby alone.

Late one night, just three weeks before her due date, Cleo’s attention was caught by a lone figure struggling along the highway’s shoulder, drenched by the rain. Even from afar, he looked injured and desperate. He staggered in tattered clothes, one arm held to his chest as he dragged himself forward. Cleo knew she should keep driving, especially at eight months pregnant, but her instincts overruled caution. Rolling down her window, she called out, “Are you okay? Need help?” The stranger, visibly shaken and bloody, pleaded, “I just need to get somewhere safe.”

Without hesitation, Cleo unlocked her doors, and he collapsed into the backseat. She quickly realized they were being followed as headlights flooded her mirror. The stranger urged her to drive faster, and Cleo’s adrenaline kicked in, navigating the winding streets with the skill of a seasoned driver. Finally, she lost the trailing car and brought her passenger to the hospital. As he thanked her, she thought little of her good deed, returning home exhausted and ready for a quiet morning.

But that morning was anything but quiet. Cleo awoke to the rumble of engines outside and peeked out her window to see a dozen sleek black SUVs lining her street. Men in suits formed a perimeter around her home, and Cleo’s heart raced, wondering if she’d unwittingly helped a criminal the night before. Opening the door cautiously, she was met by a man in an expensive suit who introduced himself as James, head of security for the Atkinson family.

“Last night, you helped their son, Archie,” he explained. The name Atkinson meant little to Cleo until she realized they were the Atkinsons—the billionaire family with a tech empire. Their son had been kidnapped three days earlier, and the ransom set at 50 million dollars. She had saved Archie on the side of the road without knowing it.

Archie explained, “They moved me last night, and I saw my chance to escape. But I wouldn’t have made it without you. I owe you everything.” His father, overcome with gratitude, handed Cleo an envelope with a check that made her knees nearly give out.

“Please, sir, this is too much,” she stammered, but Mr. Atkinson insisted, “It’s a small thank you for saving our son.” He glanced at her belly and added gently, “No child should enter this world with a mother who has to worry about providing.” Tears filled her eyes as Archie leaned forward, proposing that she lead a new community safety initiative for their family’s foundation—an effort to foster more people like her, who aren’t afraid to help.

As Cleo accepted their offer and watched the convoy leave, she felt an unfamiliar lightness, the burdens of the past few months finally lifting. She glanced down at her belly and whispered, “Did you hear that, little one? Mommy’s night job just got a big upgrade. And we did it by just being human.”

Australia’s adopted popstar son Leo Sayer reflects on his career

“I look at my role as being a friend of Canberra Hospital, I can bring some pleasure and happiness sometimes to people who are really in difficult times in their lives.”
With backing music from a Bluetooth speaker, Sayer croons his way around the cancer wards, making a human connection with everyone he comes across.

Canberra Region Cancer Centre Operations Manager Caroline McIntyre says Sayer’s visits are typically kept a surprise for patients and staff.
“He’s always come in so discreetly,” she says.
“Normally it’s just very quiet, he comes up in the back lift and says hello to literally everybody.
“Some of them are doing it tough, and to have a little bit of joy and light – it really gives them a lift.
“What makes me happy is to see people getting chemo on their feet dancing.”
Jamming with Jimi Hendrix, Countdown and the Troubadour
Originally a graphic designer by trade, English-born Leo Sayer rose to pop prominence in London in the late 1960s, as a singer-songwriter – and was soon adopted by Australia as an honorary son after his first tour here in 1974.
He went on to become an Australian citizen in 2009.
Sayer was a regular on ABC TV’s Countdown during the 70s and 80s, performing chart-toppers like “You Make Me Feel Like Dancing”, “When I Need You”, “More Than I Could Say” and “Orchard Road”.

He blushingly admits they were wild days – when he didn’t always live up to his “good-guy” public persona.
“It was mad, I mean, Top of the Pops in England, Countdown over here,” he says.
“You were mobbed by the fans, I remember being dragged out of a limousine the first tour that I came here, and then speaking to crazy people like Molly Meldrum on TV and trying to sort of like take it all in.”
It seems hard to believe – the petite, well-spoken singer, with a mane of curly hair that inspired changing his name from Gerard to Leo – beating off mobs of screaming fangirls.
Sayer circulated in superstar company, becoming close friends with former Beatles George Harrison and Paul McCartney, collaborating with Roger Daltrey of The Who, and even sharing a sly cigarette or two with John Lennon and Yoko Ono who had a flat above his design studio.
“I met Jimi Hendrix right at the start of his career. I actually jammed with him, playing the harmonica, and him playing the guitar,” he says.
Recalling his 1975 opening night at the famous Troubadour Club in Los Angeles, he looked up to see an intimidating line-up of fans in the front row.

“It was David Bowie, Elton John, and ‘The Fonz’ [Henry Winkler].”
Alongside them: John Cleese, Mick Jagger, Bernie Taupin, and comedian Marty Feldman.
“We never thought it would last, we were adapting to things around us, writing songs about things that are around us,” he says.
“And we thought they were only for our generation — so the amazing thing is my music’s become like a fine wine, where you lay it down and years later, it becomes a collector’s item.
“We’re in an age where the music that I make, young kids are actually latching onto it now, and they’re finding that that generation and that style of music we made is as current now as anything.”
Sayer’s health battles, still spreading hope at 76
Leo Sayer says his hospital charity work caps off a career dedicated to providing joy through music.
“It’s a nice piece of synchronicity really, because I was born in the grounds of a hospital in Shoreham by Sea in Sussex, near Brighton in England,” Mr Sayer said.
“I suppose I’ve always felt comfortable in hospitals and being around hospitals.
“Growing up, my dad was a hospital engineer, Mum was a nurse, my sister was a matron.”

Sayer has health struggles of his own, including three stents in his heart, which help him have a genuine connection to the hospital patients he entertains.
“[My music] is providing something that isn’t taking away from any of the treatment that’s going on. It’s providing something that’s just putting a smile on peoples’ faces.
“Music is communication and that’s what this is all about, we’re communicating, we’re making people feel better.
“We’re not healing people with music, but we are making them feel better about their healing.
“To sell out Canberra Hospital will do me fine.”

Related Posts

Be the first to comment

Leave a Reply

Your email address will not be published.


*