Since 1982, four plays have been written which were inspired by the life of Belfast-born C.S. Lewis. Peter Kreeft’s “closet” drama Between Heaven and Hell (1982) is a three-hander in which Lewis, John F. Kennedy, and Aldous Huxley (all of whom died on 22 November 1963) discuss theology as they await judgment in Purgatory. William Nicholson’s Shadowlands (1989), tells the story of how Lewis fell in love with the American poet, Joy Davidman, after remaining a “confirmed bachelor” into his late fifties. Freud’s Last Session (2009), by Mark St. Germain, imagines if Lewis were Sigmund Freud’s final patient before his assisted suicide in London in 1939; the two discuss their contrasting views regarding the nature of existence. And Max McLean’s The Most Reluctant Convert (2016) is effectively a stage version of Lewis’s “spiritual autobiography” Surprised by Joy. This chapter examines why each scriptwriter (in “closet”, stage, and screen versions of their plays) made the problematic decision to ignore or downplay Lewis’s East Belfast Protestant background and his lifelong self-identification as an Irishman.