Mallory McGarry (credited as Mallory O'Brian / Mallory O'Brien) — daughter of Leo McGarry; public‑school teacher

Mallory O'Brian, the teacher, receives Cathy’s signal and instructs her nine-year-old students to sit quietly; she stabilizes the domestic scene and shields children from political bustle in the next room.

Mallory addresses her fourth‑grade students with practiced firmness, restoring classroom order after Cathy’s instruction and ensuring the children sit quietly while the delegation moves nearby.

Mallory, as the class teacher, waits with students and parents in the Roosevelt Room, her supervisory role referenced by Cathy to frame the tour as a personal-professional intersection for staff.

Mallory stands as the teacher and corrective authority in the Roosevelt Room, interrupts Sam's fumbling tour to protect the children, then escorts him into the hallway and calmly reveals she's …

Mallory introduces her essay-winning students, requests building history to refocus Sam, stands abruptly to halt his flubbed lecture, escorts him through doors to hallway for correction, cites portrait and facts …

Mallory enters Leo's office without prior notice, embraces him, sets down personal items from home, speaks plainly about his living situation, offers concrete help finding housing and weekends to assist, …

Mallory steps in alongside Zoey, pressing to join Josh and Charlie and requesting Sam be invited; she treats the outing as an opportunity to continue a previously interrupted conversation.

Mallory intercepts Josh in the hallway, insistently presses to join the outing, requests Sam be invited, and frames the trip as social opportunity rather than a private male bonding moment.

Mallory is only referenced as someone who will attend the beer; her inclusion highlights the blending of private relationships and institutional life and humanizes the invitation.

Mallory is named as another attendee of the beer; offstage but immediately implicated in the social plan and the later escalation that the outing will precipitate.

Mallory participates in the teasing at the table, demonstrates inside knowledge about Sam, then follows Josh and C.J. toward the bar to support Zoey and the group as the incident …

Mallory follows the group toward the bar, positions herself behind Josh and Sam, watching the confrontation; she is ready to back Zoey and the others though she plays a quieter …

Mallory sits opposite Leo, declines to pay the bill, parries his questions about her mother with sarcasm and practical suggestions, accepts the opera tickets but keeps emotional distance, and walks …

Sits opposite Leo, declines to pay the bill, deflects questions about her mother with short answers and edged humor, accepts the opera tickets, and ultimately offers to walk Leo back …

Mallory waits in the communications office, greets Sam warmly, and with visible nervousness invites him to a cultural event—carefully framing the invitation as non‑romantic and stipulating strict boundaries while organizing …

Referenced by Sam as the giver of the extra opera ticket; not present but functionally important as the private, humanizing link that brings Leo's personal history into the office conversation.

Not present but functionally active in the scene via Sam's report: she offered Sam an extra opera ticket that belonged to her father and her mother, triggering the private exchange …

Mallory herself does not appear onstage, but her action — offering an extra opera ticket that once belonged to Leo and Mallory's mother — catalyzes the scene and forces family …

Mallory appears immediately after Sam exits; she calls to Sam from the hallway in a red dress, signaling a planned personal engagement that is now put on hold by Sam's …

Mallory appears in the hallway wearing a red dress and jacket, calls to Sam, receives his compliment, asks if he's ready to go, and is met with his request to …

Mallory confronts Sam with a precise, escalating litany of his authorship of presidential speeches to shame him into honoring a small personal commitment; she issues an ultimatum, physically leaves the …

Mallory confronts Sam with a controlled, pointed interrogation about the absurdity of his excuse, enumerating his major speechwriting credits before turning her hurt into a curt exit; she physically leaves …

Mallory stands behind Sam, impatient and increasingly hurt; she directly confronts him about telling her father of their date, then exits abruptly when he confirms it, leaving tension unresolved.

Mallory bursts in angry and direct, accuses her father of deliberately imposing a trivial, humiliating task on Sam, presses for accountability, then softens into a conciliatory offer (tickets/second act) when …

Mallory storms into Leo's office, confronts him directly about Sam's assignment, points accusatorily at Bartlet when he intervenes, and later negotiates a softened compromise — trading the opera for coffee …

Mallory knocks, announces the good news (Sam's off the opera), invites him to coffee, and acts as emotional translator—defending Sam, invoking the President's approval, and delivering the compliment that Sam …

Mallory knocks, enters with news, delivers the reprieve gently but firmly, defends Sam's draft, and lands the emotional comparison to the President before pulling Leo out of the office to …

Mallory enters, greets and hugs her father, presses gently about his well-being and his absence at the press conference, and then reveals she has seen a circulating printed copy of …

Mallory enters, seeks her father, expresses hurt at being excluded, and then reveals she has seen a circulated copy of the President's supportive statement; she speaks plainly and emotionally, attempting …

Mallory arrives in a light, teasing mode, exchanges kisses, then exits quickly when Leo appears; she closes the door behind her, converting the space into private adult territory and removing …

Mallory participates in the opening, playful exchange — resists Abbey's teasing, kisses Leo goodbye, leaves the office and closes the door, removing herself before the confession — she is present …

Approaches Sam, confronts him verbally about a public statement defending her father, then unexpectedly kisses him twice—first brief, then longer—then withdraws, turning a private question into a public statement.

Mallory crosses the room, asks Sam about a statement, then impulsively kisses him twice — first briefly, then longer — before walking away, leaving Sam bewildered and the room momentarily …

Mallory arrives in the flow, greets Josh, pivots the conversation to Sam's whereabouts and judgment, and supplies a social needle-point that reframes priorities toward personnel accountability.

Mallory enters the flow, immediately asks about Sam, and injects personal moral pressure into the political moment—her questions prod at reliability and personal consequence rather than procedure.

Mallory appears at the office door, hugs Leo and stands nearby during the vote transition; her presence mixes familial intimacy with the episode's political sharp edges, and she later jabs …

Mallory arrives, gives Leo a hug, and playfully but sharply confronts Sam about his position paper on school vouchers — physically pops him on the shoulder and delivers a cutting …

Mallory arrives with the paper and deliberately presses Sam on his voucher position; she frames the leak as familial intervention, tests Sam's motives, refuses to be placated by charm, and …

Mallory challenges Sam on substance (her identity as a public‑school teacher makes vouchers personal), teases and resists his romantic moves, then withdraws with a cool, sardonic good night.

Mallory is not present in the room but is the subject of Sam and Leo's exchange; she functions as an off‑stage catalyst whose receipt of Sam's voucher paper creates a …

Mallory is not physically present but is a subject of the exchange: Sam says she read his voucher paper and Leo admitted giving it to her. Her reading of the …

Mallory appears at the threshold, greets Sam with controlled informality, frames her visit as a businesslike appointment to avoid exploiting perceived intimacy, moves into his office with an ironic detachment …

Mallory presses the moral and constitutional case for directing funds to public schools, produces a list from Sam's position paper, challenges Sam's incrementalism, stands to emphasize a point, and directly …

Mallory argues forcefully from moral principle, produces a list from Sam's position paper, stands to punctuate her point, and directly calls out Sam's policy assumptions and personal posture toward public …

Mallory is physically present at the start of the scene and listens as the campus ambush is described; she registers the seriousness but remains on the periphery of the communications …

Defends public education passionately, answers Sam's provocation with sharp retorts, objects to being framed by privilege, and maintains moral clarity even as the room's tone shifts; she listens as C.J. …

Mallory bursts in demanding paternal veto on lunch with 'fascist' Sam over vouchers, presses the charge citing his paper, absorbs Leo's revelation with surprise, softens visibly after Sam's eloquence, and …

Bursts energetically into Leo's office ignoring his call; provocatively demands permission framing Sam as fascist over vouchers; challenges Sam's prior argument, softens visibly after his manifesto, accepts lunch pivot, and …

Mallory is invoked by C.J. in response to Bartlet's query about Sam, portrayed as the source of his upstairs evasion, fueling light banter without her physical presence.

Approaches from behind, greeting 'Hey, Sam' and 'How you doing?', exchanging clipped 'good's before provoking argument over Sam's call-girl photo and defending boyfriend Richard's merits, interrupted mid-explanation by a note …

Mallory approaches Sam from behind initiating casual 'Hey, Sam,' escalates by invoking the call-girl photo, reveals dating hockey player Richard Andrewchuk, boasts of their frequent sex, defends his brightness and …

Mallory stealthily taps the car window, circles to confront Sam face-to-face, provokes with taxpayer cost barbs on Galileo recovery, draws out his exploratory passion as deliberate test, dismisses 'picture' tension …

Mallory stealthily approaches the car, taps window to surprise Sam, playfully jabs at Galileo salvage costs as a taxpayer, then reveals her provocation as a ploy to elicit his passion, …

Standing face-to-face with Sam curbside, dismisses the picture's tension for tonight despite admitting she's 'totally pissed,' warmly greets arriving C.J. before stepping back as work engulfs the moment.

Mallory surprises Sam in his office, compliments his speech verbatim, reveals her breakup with Richard, toggles between teasing and tenderness, and offers to drive Sam home—providing companionship and a moment …

Mallory is not present but is invoked by Jordan as an emotional lever: she is the personal stake Jordan asks Leo to consider when choosing restraint over retaliation.

Referenced by Jordan as a personal stake — an emotional appeal to Leo to consider his daughter's future when choosing between escalation and restraint.

Mallory is invoked by Jordan as a personal stake to reach Leo (do this for Mallory); she is not present but functions as an emotional lever in the conversation.

Mallory is referenced in Leo's anecdote about near-birth at Exit 322, a personal aside that humanizes the staff and undercuts the severity of the Oval confession with familial grounding.

Mallory is invoked as the child Jenny was pregnant with — a named point of reference that anchors Leo and Toby's exchange in prior parental experience.