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In the end, it comes down to technicality. Are you surprised? I should hope not, seeing how much usually ends up that way.
You see, technically, there are two claims to Cedric Diggory in that moment. There is the claim of the Labyrinth, of a (relatively) safe haven that will spirit him away. Then there is the claim of Dolores Umbridge, of the spell that will spirit him away in an entirely different way. There is a third claim not known to many, that of Fate and its machinations which too demands the same as the second.
None of the claims can be ignored. None can be upheld either, not clearly. It's a good thing then that this is a world of otherness, of magic as much as it is not.
Here is what is decided in the end - Cedric Diggory must live and he must die. You know where this is going of course, there are only a few types of beings that are both alive and dead and the most popular example is undoubtedly vampires.
He reemerges a Cold One, whose skin glitters in the sunlight. This must be put down to the Labyrinth seeing as he shares that trait with its King. It is Fate that decries he must be displaced, that some circumstances of spacetime must be warped. It is the addition of the Labyrinth that sends him back so far.
Cedric has a relatively stable life as Edward Cullen the vampire, right up until Irene and Robert Williams decide they would like to move back and choose Denali as their home.
This is perhaps the influence of Fate or perhaps of the Labyrinth or perhaps from neither, perhaps simply coincidence. Humans are known to have the greatest free will. Why else are they always the ones to change in the stories? A human can become a vampire but a vampire cannot become human.
And so it is that Irene spots the Cold Ones on one of the rare occasions that the sun shines. She knows immediately that they are something other, having a not quite son-in-law that is the same. They don't see her watching them the first time, something that changes when she is foolish enough to tell Robert who outright gawks at them.
In retrospect, perhaps he can be forgiven.
Then though, she is both furious and mortified especially as they take it as an opportunity to approach. They are not sparkling anymore but their features are sharper than they should be and they walk with grace that Irene could never achieve. It's enough to make anyone self-conscious.
She shakes herself and casually takes her husband's hand, nails angled enough to apply some pressure and get him to concentrate. They are protected as Sarah's family, she knows, but that doesn't mean, that there is no danger because there is, she can feel it, prickling, starchy.
Irene does not recognise Cedric Diggory, has heard of him but never seen him before so when his head snaps to attention she frowns. He cannot help but smile ever so slightly, in a far better mood than usual.
Technically, he doesn't tell them anything, just gives them enough information to fill in the gaps. His family do not ask, happy to see him less sullen than usual. They do warn him not to do anything that could draw the Volturi's attention. He acknowledges this with a solemn nod, doing his best to conceal his laughter.
When the Volturi very likely owe the technicality by which they exist to the Williams' protector, that is no threat at all.