Ed here: I've been asked to write a brief piece on Leigh Brackett. In the course of my Googling I came across the following from Books and Writers. Since my love for her work knows no bounds this really irritates me. (And for a great appreciation of her by James Sallis go here http://www.grasslimb.com/sallis/GlobeColumns/globe.09.brackett.html
Books and Writers:
In 1946 Brackett ghost-wrote STRANGER AT HOME for the film actor George Sanders. THE TIGER AMONG US (1957) was a story of a citizen-turned-vigilante, who seeks to revenge himself on a gang of juvenile delinquents; it was filmed as 13 West Street starring Alan Ladd. No Good from a Corpse told of a hard-boiled detective who is determined to clear an innocent man of the murder of his girlfriend. When Hawks read the book, he decided to get Brackett to write the screenplay of Chandler's The Big Sleep with William Faulkner and Jules Furthman. However, the director was surprised when he learned that Brackett was a woman writer. And at the age of 28 she also appeared young - Furthman was nearly 60. But Hawks especially loved - at least in his films - tough-talking dames, and Brackett has hired.
After 1955 Brackett generally preferred to work in films and tv, notably contributing screenplays for several Howard Hawks productions. They both shared the same literary taste, she was sophisticated, dressed in somewhat outdoorsy manner, which the director liked, and she had spent much of her childhood in Pasadena, not far from the Hawks home. In 1957 Brackett started to write in Santa Monica Rio Bravo with Jules Furthmann, who was now seventy. She did most of the actual writing, but got only §600 weekly. Furthman, who hated to put anything down on paper, received §2,500 a week. Brackett considered her original script for El Dorado the best she had ever written, but Hawks found it too tragic; from 1930s he had generally avoided killing off his leading characters.
For Hatari! Brackett worked at §750 a week in the beginning, but Hawks also hired the brothers Waldman to write separately from her with a §35,000 fee. In MAN'S FAVORITE SPORT? (1964) Brackett worked uncredited, but she was with the crew throughout the filming, writing and rewriting scenes. However, she was denied screen credit by the Writers Guild of America, although Hawks and the initial writers, John Fenton Murray and Steven McNeil, were on her side. In RED LINE 7000 (1965) Brackett again worked uncredited. When Hawks tried to hire her to write the script for RIO LOBO (1970) in 1969, Brackett refused because she was just about to leave on a trip around the world. Brackett returned from her travels in December, and continued the work of Burton Wohl. "Most of what I did on Rio Lobo was to try and patch over the holes," she later revealed. "I was unhappy that he went back to the same old ending of the trade, because it was done beautifully in Rio Bravo and done over again in El Dorado."
Ed here: Man, who was her agent?