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Lining up a shot (film variety, not a putt) brings Webb and technician to knees. 1951. He also wrote the movie script. Over the years, Webb has shucked off one associate after another in his drive to the top. He has been accused of ingratitude, but defends himself on the grounds of not wanting to be sur¬ rounded by people who can’t keep up with him. “Look at their track rec¬ ords,” he says of those he has dropped along the way. “They’ve done very little since to prove themselves.” An exception has been Jim Moser, long-time Dragnet writer who con¬ ceived and now produces and writes Medic, sometimes known in the trade as “Drugnet.” Webb frankly admits he had a chance to co-produce the show with Moser, but didn’t think it would go. He also wanted Moser to stay with Dragnet, but made no at¬ tempt to hold him. “He’s done all right,” Webb grins. Webb himself has slowed down some¬ what, at least on the inside, if not on the surface. Three years ago he was a young man in a driving hurry, in¬ tent only on being a success. He worked at it 24 hours a day and made Dragnet a household word. The price was rather a stiff one; divorce, with his two children remaining with their mother, Julie London Webb. Now married to the former Dorothy Towne, he apparently has made provisions for working something less than 24 hours a day, although rumors have twice cropped up concerning an imminent separation. Webb today knows his job, knows he will never lack for one, and knows the price that goes with success. The brash self-assurance which charac¬ terized him three years ago has ma¬ tured into the kind of easy self-con¬ fidence which only success can bring. “If anything,” an associate has re¬ marked, “his hat size has shrunk. He is one of the truly brilliant young talents in this business. Now that everybody knows it, he no longer has to fight to prove it.”