a loan-out from Warners as well, and was reportedly unhappy with being sent to Columbia at the height of his career, if only because Warners kept any extra money paid by Columbia over and above Bogart's usual salary. Bogart had right of refusal over the director for the film, and picked John Cromwell. Bogart and Cromwell had worked together in 1922 on Broadway in Drifting, a short-lived play by John Colton and D. H. Andrews, when Bogart was a very young actor and Cromwell, the play's director, cast him in his first bit part. Bogart was responsible for Murdock's extended speech to Scott about men carrying women around in their pockets, taking them out when they were needed to have dinner with or make love to. This idea was one that Bogart was known to espouse when he had been drinking. The song "Either It's Love or It Isn't", sung by Lizabeth Scott, had words and music by Allan Roberts and Doris Fisher. Many of Dead Reckoning'''s exterior shots were filmed on location in St. Petersburg, Florida. Other background and location shooting took place in Philadelphia, Pennsylvania; LaGuardia Airport in New York City; and Biloxi, Mississippi. Reception Critical responseThe New York Times gave the film a mixed review, praising Bogart as "beyond criticism in a role such as Dead Reckoning affords him", with "some of the best all-around dialogue he has had in a long time." However, it was less kind to his co-star, Scott, "whose face is expressionless and whose movements are awkward and deliberate." Although the actions of Bogart's character are not particularly plausible at times, and the plot was considered to be "rambling" with "a lot of things about the script ... that an attentive spectator might find disconcerting," the Times found that "the suspense is skillfully drawn out."Sterritt, David "Dead Reckoning (1947)" (article) TCM.comVariety magazine also praised Bogart and liked the film, writing, "Humphrey Bogart's typically tense performance raises this average whodunit quite a few notches. Film has good suspense and action, and some smart direction and photography ... Bogart absorbs one's interest from the start as a tough, quick-thinking ex-skyjumper. Lizabeth Scott stumbles occasionally as a nitery singer, but on the whole gives a persuasive sirenish performance." In 2004, film critic Dennis Schwartz was critical of the film. He wrote, "This second-rate Bogart vehicle has the star depart from his usual tough-guy role, though he