There is no emotional stimulation in the final departure of a non-public character to bring tears, such tears as have been provoked by the novel or the stage over the death of Sidney Carton or Faust's Marguerite or the like.
All this, to make sharper the fact that the murder of Becket the archbishop is a climax.

The great Church and hierarchy are profaned.

The audience feels the same thrill of horror that went through Christendom.
We understand why miracles were wrought at the martyr's tomb.
In the motion pictures the entrance of a child into the world is a mere family episode, not a climax, when it is the history of private people.
For instance, several little strangers come into the story of Enoch Arden.

They add beauty, and are links in the chain of events.

Still they are only one of many elements of idyllic charm in the village of Annie.
Something that in real life is less valuable than a child is the goal of each tiny tableau, some coming or departure or the like that affects the total plot.