When War In Paris seriously injured her knee at track work it appeared all but certain her racing career at come to an end.

However, trainer Gary Bowen had other ideas, slowly nursing her back to full fitness in the hope of seeing her race again.

12-months later and Bowen’s hopes have turned to reality.  War In Paris will resume in the Goldfields Magic Million Classic (1200m) at Kalgoorlie.

“I didn’t think she would ever get back,” Bowen said.

“She really did some damage and still has nasty scars.

“She smashed into the back of a car after escaping from track work.

“She was a $70,000 yearling out of a good mare.

“If she didn’t race I was keen to breed from her.

“It’s taken a long time and a lot of money to get her right.

“But I think she is on track and ready to go.”

Bowen’s confidence could be on the mark and justified with War In Paris producing an outstanding 1100m trial when she led and defeated Bollywood Blitz by six lengths.

“I was rapt in the trial and thought it was really good,” Bowen.

“It gives me a lot of confidence that she is ready to go.

“Bollywood Blitz won a Coolgardie Cup and is no slouch.”

Bowen will be out to ward off the imposing presence of leading trainer Peter Fernie who with four runners saddles half the field.

His stable charge is led by the in-form Pym’s Royale, chasing five wins in a line, top weight Mervyn, It’s Dynamite and Hilbert, a winner at his past two.

Bowen admits he has given War In Paris a difficult assignment first-up after a long absence.

“It was a $40,000 race and I might have got carried away a bit,” Bowen said.

“But she was eligible and paid up for.

“Peter Fernie has a big hand in the race.

“Pym’s Royale is in form and looks the one to beat.”

War In Paris has drawn the second widest gate in the field of eight starters and will be in the hands of Julien Kokotajlo.

Bowen said he was happy to book the French-born hoop after he got a feel for War In Paris in her trial.

“He has been around and is no mug,” Bowen said.

“He came back raving about her trial.”

Julio Santarelli