When shooting transparency film for documentary work, I've used a combination of magenta and CT (colour temperature) filters in fluorescent light. I normally do that by combining a normal screw-in glass filter with a Wratten gelatine (or Lee polyester) filter held inside. This avoids the creation of too many parallel glass-air surfaces (the gelatine/polyester filter will never be flat) and it lessens the chance of cut-off in the corners. (I do documentary work with a rangefinder, so I can't really use a Lee/Cokin type filter system.)
Which filter is which depends on what I have available - though usually the gelatine/polyester is the magenta correction and the glass is the temperature correction. You can often get away with approximate temperature correction in situations where the green-magenta balance needs to good - I couldn't justify having a complete set of glass CC magenta filters for all my lenses, so I only carry 10 M and 20 M in glass. (You'll never achieve 'correct' colour balance with many real-world fluorescent lights because the emission spectrum has sharp spikes that cannot be corrected with dye-type filters.)
I only do the two-filter thing as a last resort - I don't mind the character of the illumination showing in the slide, so usually stick to an approximate correction for the magenta (hence the 10 M and 20 M filters), and let the temperature be what it is - after choosing between tungsten and daylight film.
I use two filters more often in the movies, though I avoid doing so if I can, but that's a different story. Even the parallel surface problem is more easily solved when using a matte box.
Best,
Helen