Wade and Quinn interfere in a pharaoh’s funeral rites and are condemned to die with his servants. Arturo rescues Wade at the pyramid, but Rembrandt finds Quinn dead in the necrology ward of the hospital. Quinn visits the afterworld where he meets his father but is brought back to life by physicians experimenting with what happens when people die. The other Sliders don’t know this, and, despairing, attempt to rescue the woman Quinn died to save from the pyramid. Once inside, she tells them that Quinn is probably alive. They must choose to slide without Quinn or let the window of opportunity pass.
No one will leave Quinn, but their delay causes them to be trapped in the pyramid with a genetically enhanced scarab on the loose. However, they learn of a secret passageway. If they can avoid the scarab long enough to find it, they can still make it out. On the outside, Quinn works with his doctor to find a way into the pyramid to rescue them with the authorities on their tail. Quinn discovers a second timer, supposedly used by royalty, that the pyramid’s architect had stolen as an escape plan. A good thing, too, because the old timer is finished.
The Egyptian empire and its culture have spread all the way to the Pacific.
Welcome to New Cairo, a bustling city that sits where Los Angeles exists on Earth Prime. It’s just one of many major ports of civilization where Egypt came to dominate the world. Arturo postulates this may have happened through the failure of Alexander the Great, the man primarily responsible for putting an end to the dominance of Egypt almost two thousand years ago.
The nobility of this world have access to transdimensional travel and use it to slide from time to time, although this rite is held mainly during burial, when the Pharaoh is interred in his own personal rotating pyramid. It’s seen as yet another way to traverse to the next world.
As with the Egyptians of our world, this culture is obsessed with the idea of life after death. Medical experiments to prove such a thing are going full tilt here.
Digital Muse effects supervisor Ken Stranahan describes the giant scarab as one of their most difficult opticals.
“[Director] Adam [Nimoy] really wanted to make this a great show,” he says. “We basically built a giant CGI scarab beetle. Luckily one of our animators actually studied entomology in school.
“I must apologize for some of the artistic license we took. Originally it was very accurate looking, then the claws on the front were not big enough so we ended up changing a lot of things. But it should still look pretty cool. It is really top notch and we put a lot of time into it. I ended up modeling the bug, but [CGI modeler] John [Daniel] worked hard on trying to make it a great looking bug. It is really amazing.”
|Written by||Scott Smith Miller|
|Directed by||Adam Nimoy|
|Music by||Danny Lux|
|Edited by||Edward Salier, A.C.E.|
|Previously:||Murder Most Foul|
There are a lot of things going right in this story yet when they come together, they just don’t quite pop. Still, it’s a bold first entry in this post-Tormé era. If nothing else, it has staked itself a place as an episode you’ll have to remember.
The Sliders land in a world resembling ancient Egypt, where Quinn is used for a life-after-death experiment, and the others are entombed inside a pyramid.