Badir discusses the Scriveners' pageant in the York Play, which, as one would expect, addresses the problem of doubt, both thematically and formally, by proposing that seeing and touching Christ's body can confirm knowledge and restore faith. She explores the tension between the demands of the theatrical enactment of the Thomas story and the phenomenology of the written Word. She proposes that Thomas's indexical finger, in this instance, points not only to Christ's body--as the actor playing Thomas gestures toward the actor playing Christ--but also to the gospel text, inscribed on parchment by the hands of the pageant's players, themselves copyists by trade. She proposes that the Scriveners' pageant and its playbooks suggest an imaginative series of associations between Thomas's outstretched hand, the scrivener-actor's hand, and the scrivener writer's pointing stylus.