This chapter is a deep exploration of present unseeing in Malick's Days of Heaven—a film about a failure to listen. The film applies Peirce's and Deleuze's semiotics to audible relations: firstness (hearing), secondness (listening), and thirdness (nomos). The film's release corresponds with the emergence of mixing as an art form, which is a means of establishing relational modes of hearing and listening. It anticipates the film's twin conflicts through the ambience of the locusts and the characters' lack of audible openness. Both elements become knowable only in sight and by then it is too late. Without hearing, listening does not occur; without listening, secondness never gains its thirdness (nomos). Plato's Myth of Er, Aristotle's Poetics, Nietzsche's readings of Heraclitus, and major Deleuzean concepts are all addressed in the context of the film.