You have to love a routine like this where the method is so audacious.
Before reading this piece I thought full credit for this sort of thing went to Orville Meyer, whose variation, "Tervil", appears in "Practical Mental Effects".
I now know that this effect was originally known as "A Dead Name Duplication" and was by Annemann, himself.
Thanks for the info!
PS For this effect, it might be good to get the second spectator up on stage to be used in the next routine. During which, if practical, p***** wr***** could be used to produce a b***** which could be returned to the first spectator, along with her own, afterwards via the second spectator (as a seeming afterthought as she's leaving the stage).