This chapter describes the 'remaking' process of vampire texts by exploring the intertextual relationships that exist between Francis Ford Coppola's Bram Stoker's Dracula and the 'new vampire' film Catherine Hardwicke's Twilight. It considers how all vampire texts function primarily as intertexts and explores how audience responses of anxiety have been replaced by those of desire in the Twilight texts. Viewed through the kaleidoscope of intertextual reference and allusion, the film borrows from Jean Cocteau's La Belle et la Bete as much as it borrows from Stoker. The earnest and beautiful Mina Murray falling in love with the 'hated and feared' Prince Dracula, a 'beast' and a 'monster' whose redemption depends ultimately on a reunion with his beloved. In the Twilight texts, the vampire's 'Otherness' itself becomes a kind of allusion: implied but never realised; glamorised or fetishised but never effectively explored.