It is a spring night in rural Texas, and crickets sing as a woman in her 60s with broad shoulders and short brown hair stops a pregnant young woman on an empty sidewalk. The older woman has heard that the younger woman, her neighbor Lucy Mae, may be seeking an abortion. “You don’t have to do this,” she says, her brown eyes and long loose cheeks filling with emotion. “Children are a miracle—a gift from God!”

The women are performing a scene in Doonby, a movie about a drifter who awakens a sleepy Texas town to its spiritual possibilities. The movie, tentatively set to be released this year, is directed by Peter Mackenzie, a Catholic filmmaker from Britain. It stars John Schneider, best known for The Dukes of Hazzard, who is a born-again Christian.

The older woman is born-again, too. Her name is Norma McCorvey. She is not a professional actress. But back when Nixon was president, McCorvey landed the role of a lifetime: that of “Jane Roe,” the plaintiff in what would become one of the most divisive legal actions in American history.

Forty years ago, on January 22, 1973, the United States Supreme Court ruled in Roe v. Wade that women had the right to an abortion “free of interference by the State,” as Justice Harry A. Blackmun wrote in the Court’s majority opinion. The decision greatly expanded the legal boundaries for abortion in the United States, allowing women to terminate a pregnancy at any point during the first 24 weeks—that is, through the first and second trimesters. (Roe did, however, permit states to impose regulations in the second trimester, including who could perform abortions and where. It also gave states the right to ban most abortions in the third trimester.)

McCorvey, under the pseudonym Jane Roe, had brought the precipitating lawsuit in 1970, when she was pregnant for a third time and living in Texas, where abortion was prohibited unless the life of the pregnant woman was threatened. (The Wade in Roe v. Wade was Dallas County district attorney Henry Wade, the named defendant.) Roe v. Wade was a watershed legal ruling. But it also helped to turn abortion into the great foe of American consensus. Subsequent cases have made it clear that the Supreme Court majority in favor of abortion rights has been eroding, from 7 to 2 in Roe to 5 to 4 in cases decided in more recent years (with the majority deciding against abortion rights in a number of cases). Roe is undoubtedly the most familiar legal ruling in the minds of most Americans—not for nothing did Katie Couric ask Sarah Palin in a 2008 interview to cite any Supreme Court case except that one. But few people know much about the woman who prompted the ruling in the first place.

Norma McCorvey, now 65, has presented a version of her life in two autobiographies, I Am Roe (with Andy Meisler, 1994) and Won by Love (with Gary Thomas, 1997). In McCorvey’s telling, the story is a morality tale with a simple arc: An unwanted pregnancy. A lawsuit. Pro-choice. Born-again. Pro-life. Peace. The truth is sadder and less tidy. And with the help of a cache of documents retrieved two years ago from the clutter of a Texas home she had abandoned, as well as interviews with people once close to her, the story can be more accurately told.

Young Norma McCorvey had not wanted to further a cause; she had simply wanted an abortion and could not get one in Texas. Even after she became a plaintiff, plucked from obscurity through little agency of her own, she never did get that abortion. McCorvey thus became, ironically, a symbol of the right to a procedure that she herself never underwent. And in the decades since the Roe decision divided the country, the issue of abortion divided McCorvey too. She started out staunchly pro-choice. She is now just as staunchly pro-life.