WHOOSH... shippa-dippa-dippa... Ever notice that whenever John Smith has a vision it's accompanied by the sound of an overamplified Frisbee skidding on a pavement? Not that I'm complaining (or shilling for Frisbee, for that matter), but when the Law & Order folks make such a big noise about their echoed gavel pound, I figure the good people at the Dead Zone are entitled to do the same for their signature sound effect, particularly since last night's plot was just as distorted. I may not know much about art, but I liked the idea of the craven art patron who furnishes egomaniacal artist Andrew Lyne with daughters the way a pimp supplies a wealthy john with hookers. "I did what had to be done," said the "snoob," who earned a sizable cut of the recent "Daughter Series" from the reclusive Lyne (a pompous composite of Andrew Wyeth and Fatal Attraction director Adrian Lyne). The sudden recharging of Lyne's muse was directly attributed to the sudden discovery of Lyne's beautiful, long-lost daughter Chloe. She filled the void left by Julia, Lyne's previous beautiful, long-lost daughter, who was founded along a nearby shoreline with her skull bashed in. Once John figured out (through the usual series of WHOOSH visions) that Chloe was in line for a similar headache, it became clear that Lyne's assistant Nora had a hand in what was about to go down (Chloe). Nora, you see, was Lyne's real daughter. Alas, she didn't do much for Dad in the muse department, hence the head-banging.