Kill Bill Vol. 2 Original Soundtrack - Not Included

Not Included

Numerous noteworthy tracks used in the film and to advertise it were not included in the soundtrack album:

  • Nora Orlandi's "Dies Irae" — used in the conversation between Bill and Budd.
  • "Ay Que Caray" by Marilu Esmeralda Aguiluiz — source music in the strip club.
  • "Budd's Trailer Suspicions" — original, incidental music by Robert Rodriguez, heard when The Bride lurks around Budd's trailer.
  • "A Fistful of Dollars (prima)" by Ennio Morricone, from A Fistful of Dollars — heard as Budd spits on the bride and injects her with tranquilizers.
  • "Il mercenario (ripresa)" by Ennio Morricone, from the film The Mercenary — heard as Budd seals The Bride in the coffin.
  • "Pai Mei Theme" — original incidental music by Robert Rodriguez; heard as The Bride ascends the stairs to Pai Mei's temple.
  • "Title Theme from Three Tough Guys" by Isaac Hayes — used for the Bride/Pai Mei fight training sequence.
  • "Invincible Pole Fighter" by Sho Chun Hou & Stephen Shing; used for The Bride's training montage with Pai Mei.
  • "Sunny Road to Salina" performed by Christophe and composed by Bernard Girard — used for The Bride's march through the desert, frequently used in Kill Bill ads.
  • The "Budd Twang" — original guitar piece by Robert Rodriguez, one version heard after Budd shoots the Bride, another when Elle is about to escape with the cash.
  • "I giorni dell'ira" (Days of Anger) by Riz Ortolani — When Elle does a mid air kick toward the Bride with sound effects.
  • "The Demise of Barbara and the Return of Joe" by Ennio Morricone, from Navajo Joe, used for the death of Bill.

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Famous quotes containing the word included:

    One feels inclined to say that the intention that man should be “happy” is not included in the plan of “Creation.”
    Sigmund Freud (1856–1939)

    People accept a representation in which the elements of wish and fantasy are purposely included but which nevertheless proclaims to represent “the past” and to serve as a guide-rule for life, thereby hopelessly confusing the spheres of knowledge and will.
    Johan Huizinga (1872–1945)