The article examines two particular mysterères preserved in manuscript Chantilly, Ms. 617. It is said that the dramas began within a Carmelite convent in what became the town of Huy in Belgium. The document shows how mysterères did not have to have urban or civic origins nor were necessarily borne as integral pieces of larger Passion narratives. The manuscript is said to be reflective of a play performed in front of a mostly female audience.