the elevator on the 15th floor.

The doors open.

There's Steven Seagal in a little Nancy Kwan outfit with

a prayer rug holding his massive girth and 2

bodyguards.

It was like, next elevator.

It's like, what the fuck?

Is it direct-to-video, motherfucker?

I can't take the same elevator as this

jowly fucking hairball?

What the fuck?

Yeah, but I've talked a lot of shit about Steven Seagal

lately, so if you see him tonight, that's

what those are for.

He's got a reach.

HELEN CHO: Next elevator.

ANTHONY BOURDAIN: Get under his reach.

Get under his reach.

DIANE SCHUTZ: --On the street.

Just on the street.

HELEN CHO: Next elevator, motherfucker.

ANTHONY BOURDAIN: My name's Anthony Bourdain, and I work

with Zero Point Zero Production making a television

show called No Reservations.

I travel around the world eating and drinking and making

self-indulgent television.

We have a core road crew.

Diane Schutz, segment producer.

Helen Cho, the director of social media.

Zach Zamboni is a

cinematographer and a shooter--

camera person.

Then, of course, Tom Vitale, my go-to producer.

Basically, these are my partners in telling stories

all over the world.

These are the people who I spend most of my

waking hours with.

They're my closest associates and friends.

I have something to present to you tonight.

HELEN CHO: Oh, no.

ANTHONY BOURDAIN: This is for you.

You might need this later.

HELEN CHO: Oh, I will.

That's sick.

DIANE SCHUTZ: That's pretty awesome.

ZACH ZAMBONI: Let's go eat.

ANTHONY BOURDAIN: I had no life outside of

the restaurant business.

I was at work all day, and at night, I would go out with

other chefs and talk about business.

So the transition to television, in that regard,

isn't that much of a leap.

What do I do?

I work all day.

I'm friends with the people I work with.

And when we're not working, when the cameras are off, we

continue to eat and drink and talk about work.

So--

there it is.

ZACH ZAMBONI: We're going to Salumeria Rosi.

ANTHONY BOURDAIN: Every once in a while, like special treat

at the Bourdain household, I'll run over there and buy a

big pile of meat.

We're going to see the wizard.

The wonderful wizard of meat.

Thank you for hosting us.

ZACH ZAMBONI: Hey, Cesare.

CESARE CASELLA: Hey, how are you?

ANTHONY BOURDAIN: Cesare's an old friend.

He's made a bunch of shows with us.

Cesare, like a lot of the chefs I've come to know and

who I've come to be close friends with--

as is so often the case in my fucked-up, dysfunctional, but

wonderful life--

we started out as TV friends and became real friends.

SERVER: Are you-- you order, or--

ANTHONY BOURDAIN: I think what we'd like is a selection of

cured meat.

CESARE CASELLA: OK.

ZACH ZAMBONI: A little bit of cheese.

ANTHONY BOURDAIN: Just split.

CESARE CASELLA: Fantastic.

ANTHONY BOURDAIN: Beautiful.

Good cured meat is something that's always good.

It won't be too punishing early on.

We're going for the long haul, here.

Experience has taught me that it would have been a bad idea

to start off with a pasta tasting earlier in the meal,

followed by meat and more drink.

I couldn't do that to my friends.

ZACH ZAMBONI: Whoa!

DIANE SCHUTZ: OK, that's tweetworthy.

ANTHONY BOURDAIN: Look at that.

It's a low-impact place to grab really good food, and one

of those places that I think, just by existing, are

good for the world.

I mean, he makes and sells products there that other

people either don't do, wouldn't do,

or can't do as well.

And I think it's just a person and a place that I feel really

connected to.

It's a happy day for me when I can go there [INAUDIBLE].

Delicious.

HELEN CHO: Amazing.

CESARE CASELLA: So this is the fagioli [INAUDIBLE].

DIANE SCHUTZ: Nice.

ANTHONY BOURDAIN: I love that man.

See, this is something that's just irresistible to me.

I'm happy now.

This is exactly how I like to eat.

Part of the process of making the show is tweeting about it

and engaging the fans.

We're all serial tweeters.

It's at the pathetic point.

We are some sad motherfuckers here.

Look at us.

ZACH ZAMBONI: Like a bunch of tweens.

ANTHONY BOURDAIN: Right.

So, the question I had in my mind tonight was, if any of

you got like some big hunk of sauce or mashed bean hanging

off your cheek, would I tell you?

HELEN CHO: Yeah, would you?

ANTHONY BOURDAIN: You know, revenge for season 2.

There was one episode where I had a nostril hair like this

long hanging out-- a crusty one.

DIANE SCHUTZ: Oh, you mean New Zealand?

ZACH ZAMBONI: That was Uzbekistan.

ANTHONY BOURDAIN: Excellent.

I mean, everybody on TV has to live with the likelihood that

if they hit their head, shit their pants, get arrested--

that they will themselves end up on camera.

But for a sustained night out with a camera

relentlessly on them--

were they uncomfortable?

Who cares.

I wallowed in their discomfort.

ZACH ZAMBONI: We usually drink when we shoot, so feel free.

ANTHONY BOURDAIN: Everybody we got with is like, such an old

whore, productionwise.

CAMERAMAN: Zach, you can't be shooting this show, either.

ZACH ZAMBONI: OK, here.

ANTHONY BOURDAIN: Zach's thinking about the lighting.

Diane's bussing the table.

And I'm thinking, well, did you pay?

Because there is really now lower person in this world

than somebody who ends up stiffing waiters.

There is a 10th circle of hell just for them.

So that guy's paying?

[INTERPOSING VOICES]

ANTHONY BOURDAIN: OK, good.

Tack on--

DIANE SCHUTZ: Thank you.

SERVER: You're very welcome.

Have fun tonight.

ANTHONY BOURDAIN: Did he tip well?

ZACH ZAMBONI: 30%.

ANTHONY BOURDAIN: 30%.

OK.

Damn.

HELEN CHO: Damn.

ANTHONY BOURDAIN: We don't tip that well.

Let's pretend you were producing this segment.

How would we deal with this transition here?

Did you risk [INAUDIBLE]?

Did you say, ask them where we're going now?

HELEN CHO: Damn, he's onto us.

DIANE SCHUTZ: Shit.

ANTHONY BOURDAIN: Apparently we'll be moving on to The

Distinguished Wakamba Lounge.

Do you like a little Latin flavor?

Do you like 8th Avenue in the '30s?

DIANE SCHUTZ: That's my [INTERPOSING VOICES].

ANTHONY BOURDAIN: I've never puked in front of

witnesses in my life.

DIANE SCHUTZ: Ever?

ANTHONY BOURDAIN: And I'm not going to start now.

DIANE SCHUTZ: Really?

Ever?

Come on.

HELEN CHO: Tonight is the night, Tony.

Tonight is the night.

ANTHONY BOURDAIN: When I was a junkie, I would throw up in

the great outdoors.

But outside of the heroin experience, no.

I still remember the girl who threw up next to me in second

grade, so that was an important experience.

Terry Jones--

lifted up her desk and blew chunks into her desk.

OK?

And that made a big impression on me.

And I was like, that's not going to be me.

So I'm pretty good at holding onto my shit.

Thank you.

I know a bar with a pool.

It's right behind the bar, the swimming pool is.

Last time I was there, I got fucking buck naked.

That was quite some time ago, but--

yeah.

Pre-fatherhood.

I'm a distinguished motherfucker now.

ZACH ZAMBONI: Yeah, it's true.

ANTHONY BOURDAIN: Hence The Distinguished Wakamba Lounge.

ZACH ZAMBONI: Yes.

ANTHONY BOURDAIN: We're all thinking the same thing when

we go into a restaurant or a bar.

First thing we're thinking is music.

You can't afford that music.

ZACH ZAMBONI: Uh-oh.

Unplug the jukebox.

DIANE SCHUTZ: Stop producing the show.

ANTHONY BOURDAIN: The Distinguished Wakamba Lounge--

one of the last dive bars of its kind.

There are plenty of Irish dive bars around, but this is

really something unique to Manhattan.

ANTHONY BOURDAIN: Presidente?

Definitely you want to be drinking the Presidente--

good stuff there.

They keep it properly cold, as any proud Dominican

[INAUDIBLE] should be.

All right, so who's been here before?

ZACH ZAMBONI: No one?

DIANE SCHUTZ: No, never.

ANTHONY BOURDAIN: Why?

It's enchanting?

ZACH ZAMBONI: How come we haven't shot here?

HELEN CHO: No, we were going to shoot for the holiday.

ANTHONY BOURDAIN: This one's my special place.

ZACH ZAMBONI: Aw, you didn't want to fuck it up.

ANTHONY BOURDAIN: The Wakamba Lounge has remained unchanged,

unapologetically and unironically.

That's important.

There's nothing hipster about the Wakamba Lounge.

It is what it is.

Anyone who's just compelled to go there after having seen

this-- please don't fuck it up.

So what are we drinking shots of?

Because we're drinking shots of something.

Definitely not tequila.

HELEN CHO: No, let's do whiskey.

ANTHONY BOURDAIN: Whiskey.

I think Jameson.

HELEN CHO: Jame-o?

ANTHONY BOURDAIN: A good Catholic whiskey.

HELEN CHO: Let's just drink Jame-o.

ANTHONY BOURDAIN: Jame-o.

DIANE SCHUTZ: You sound so Williamsburg.

HELEN CHO: What?

I am not from Williamsburg, Diane.

DIANE SCHUTZ: I'm just saying it sounded--

HELEN CHO: I'm from Brooklyn.

Oh, sorry.

ZACH ZAMBONI: Come here, buddy.

Come on, pal.

Yeah.

ANTHONY BOURDAIN: In order to be on this show, if you want

the shot, you take the shot.

ZACH ZAMBONI: Yeah.

ANTHONY BOURDAIN: That's the way it works.

Yeah, there's no getting in and out of there without doing

a few shots.

I just love that place.

It's politically incorrect.

So, Helen.

I pledge to you now.

HELEN CHO: And this is not drunk talk.

This is real talk.

ANTHONY BOURDAIN: I will sing Mark Lanegan's "Wedding Dress"

at your wedding.

HELEN CHO: You fucking pinky-swear me, dude!

ANTHONY BOURDAIN: Nice Korean boy, though.