Series 6 — Episode 11
Have Guns — Will Haggle
Teleplay by Donald James
Directed by Ray Austin
Production No E.66.6.30 / E.67.9.4
Production completed: March 15 1968. First transmission: December 11 1968. First transmission (USA): May 1 1968
Regional broadcasts
Broadcaster | Date | Time |
---|---|---|
Thames Television | 11/12/1968 | 8.00pm |
ATV Midlands | 12/12/1968 | 7.00pm |
Granada Television | 30/03/1969 | 8.25pm |
Anglia Television | 12/12/1968 | 7.00pm |
Border Television | 22/12/1968 | 8.10pm |
Channel Television | 12/12/1968 | 7.00pm |
Grampian Television | 11/12/1968 | 8.00pm |
Southern Television | 19/02/1969 | 8.00pm |
Scottish Television | 20/03/1969 | 8.00pm |
Tyne Tees Television | 11/12/1968 | 8.00pm |
Ulster Television | 12/12/1968 | 7.00pm |
Westward Television | 12/12/1968 | 7.00pm |
Harlech Television | 12/12/1968 | 7.00pm |
Yorkshire Television | 13/12/1968 | 7.35pm |
TV Times listing





11.0
The Avengers
Patrick Macnee
Linda Thorson in
Have Guns — Will Haggle
By Donald James
Steed and Tara investigate the disappearance of 3,000 top secret rifles from a government depot.
John Steed | Patrick Macnee |
Tara King | Linda Thorson |
Col Nsonga | Johnny Sekka |
Adriana | Nicola Pagett |
Conrad | Jonathan Burn |
Spencer | Timothy Bateson |
Crayford | Michael Turner |
Designer Robert Jones; Director Ray Austin Producers Albert Fennell, Brian Clemens; Executive in Charge of Production Gordon L. T. Scott
9.30
The Avengers
Patrick Macnee
Linda Thorson
Have Guns — Will Haggle
By Donald James
A raid on a Government Ordnance factory gives a four-man gang a rich haul of 3000 F.F. 70 rifles — a new type still on the secret list.
Previously shown on ITV
John Steed | Patrick Macnee |
Tara King | Linda Thorson |
Col Nsonga | Johnny Sekka |
Adriana | Nicola Pagett |
Conrad | Jonathan Burn |
Spencer | Timothy Bateson |
Crayford | Michael Turner |
Lift attendant | Robert Gillespie |
Giles | Roy Stewart |
Brad | Peter J. Elliott |
Executive in Charge of Production Gordon L. T. Scott Designer Robert Jones Director Ray Austin Producers Albert Fennell, Brian Clemens
ABC Television Network Production
The 1970 repeat listing for Yorkshire credited less of the cast than in the 1980s repeat listing.



International broadcasts
Broadcaster | Date | Time |
---|---|---|
ABN2 Sydney, Australia | 29/11/1968 | 8.00pm |
ABQ2 Brisbane, Australia | 27/12/1968 | 8.00pm |
ABV2 Melbourne, Australia | 19/11/1968 | 8.30pm |
ABS2 Adelaide, Australia | 5/12/1968 | 8.00pm |
ABC New York, USA | 1/05/1968 | 7.30pm |
ORTF2 France | 29/11/1969 | 10.05pm |
Suisse Romande, Switzerland | ||
French title | Un dangereux marché | |
ZDF Germany | ||
German title | Biete Putsch — suche Waffen | |
KRO Netherlands | 24/03/1970 | 9.10pm |
Dutch title | Wappenroof | |
TTI Italy | 10/12/1980 C51 | |
Italian title | Traffico d'armi | |
Spain | 10/11/1969 | 11.00pm |
Spanish title | Revólver a la orden... ¿Quién da más? |
Swiss, German and Italian channels did not screen this episode in contemporary broadcasts, but viewers near the French and Dutch borders may have seen it.






Continuity & Trivia
- 3:49 — Have Guns — Will Haggle is one of those rare episodes with more than one title screen:
< - 5:05 — We’ve seen that house before... maybe in Escape In Time!
- 6:29 — That looks like the same towpath where Danvers was shot at in The Bird Who Knew Too Much.
- 14:45 — Conrad’s Jaguar is suddenly turned at an improbable angle from where it had been seconds earlier after Tara fights off the henchman.
- 16:49 — When Steed visits Colonel Nsonga, he’s listening to some of the music from Small Game for Big Hunters.
- 22:39 etc. — Some obvious back projection studio work when Steed is ‘driving’.
- 23:29 — It’s obviously not Macnee who gets out of the Bentley! It’s probably Paul Weston.
- 25:32 — A little model train goes across the model bridge outside Tara’s window.
- 37:20 — That’s rather obviously a studio woodland set that they starts wandering around in after Steed leaps the hedge.
- Running time: 49′20″
- This episode is especially interesting as it gives us a glimpse of Tara Mark I, while John Bryce was still in Charge of production. The producers wanted Thorson to be a blonde but the bleaching damaged her hair, forcing Linda to wear wigs; she’s also slightly overweight. They try to disguise it by having her wear a large pink coat but the difference is obvious around TIMECODE (25:00) when she returns home, pink and plump, then emerges from the bedroom, dark and slim, in a brief little tartan outfit (see feature images 2 & 3).
- Just who is so obsessed with clowns?
We have:- Maxie and Jennings in clown make-up in Look- (stop me if you’ve heard this one) But There Were These Two Fellers…,
- the gang of mercenaries wearing clown masks in Have Guns — Will Haggle,
- Merlin wearing a clown mask in The Morning After,
- and Miranda Loxton wears a clown costume for the first quarter of Requiem.
The Transport
Marque | Colour | Number |
---|---|---|
Land-Rover 109" Series IIa 1966 | dark green | HBW 45D |
rowing boat | wood | - |
Jaguar Mk. X 1962 | dark grey | 13. ... |
Lotus Elan +2 (Type 50) 1967 | red | NPW 999F |
Jaguar Mk. II 1965 | steel blue | BNF 642C |
AEC Reliance Plaxton Panorama 1964 coach | beige | ? |
Bentley 3 litre 1928 (chassis AX1662) | british racing green | YT 3942 |
Mercedes-Benz 250 SE (W111) 1960 | steel grey | REN 988 |
Rolls-Royce Silver Cloud III Sports Saloon H.J. Mulliner Park Ward 1965 | grey | CDK 978C |
Vanden Plas Princess Limousine | grey | ? |
Rolls-Royce 40/50 h.p. ‘Silver Ghost’ 1923 H.J.Mulliner tourer (chassis number 46LK) | pale lemon | KK 4976 |
Who’s Killing Whom?
Victim | Killer | Method |
---|---|---|
Smith | Conrad | assault rifle |
Crayford | Conrad | silenced pistol |
Giles | Conrad | assault rifle |
Mercenary | Mercenary | assault rifle |
Mercenary | John Steed | ?? |
Mercenary | John Steed | ?? |
Conrad | John Steed | knife |
Col. Nsonga | John Steed | hit by debris from exploding ammunition depot |
There might be another death — when Tara is attacked in the warehouse, one of the mercenaries collapses as though he’s shot by the other but we don’t see enough to be sure.
