Woolrich (or William Irish) is not given any credit for the NIGHT WITHOUT SLEEP script, either. It's credited to Elick Moll and Frank Partos, the latter of whom was a noir screenwriter of some repute, having written THE STRANGER ON THE THIRD FLOOR (claimed by some as the first film noir) and several intriguing pre-Code crime films previous to that (GUILTY AS HELL and WHARF ANGEL).
Moll, novelist and playwright, was by no means a noir specialist: via his friendship with director Lloyd Bacon, he'd struck up a bit of a bromance with Darryl Zanuck and became an on-again off-again polish man for Fox in the 40s--but in musicals and fantasies. He was teamed with Partos for THE HOUSE ON TELEGRAPH HILL and its moderate success gave them another (distinctly less successful) teamup on NIGHT WITHOUT SLEEP. Later in the decade, he would team up with the ardently liberal Daniel Taradash (Oscar winner for his FROM HERE TO ETERNITY adapted screenplay) for STORM CENTER (1956), part of the post McCarthy-era pendulum swing. He would also team up with Don Murray, fleshing out the actor's reminiscences of his volunteer service with Italian refugees in the Playhouse 90 drama "For I Have Loved Strangers" (broadcast in December 1957).
The NIGHT WITHOUT SLEEP story is close enough to Woolrich's novel that I certainly think he could have sued. Will have to go grab the Nevins bio from down at the office to see if there's anything in there about it. Its release came at a time when Woolrich hit a major rough patch in his personal life that affected his output and just about everything else, however, so that could explain why something like this could have slipped through the cracks.