It would seem from another review that the accreditation of this film has been changed from Feuillade to Guy on account of a Gaumont DVD. Gaumont's record on such ascriptions is extremely poor (Le Frotteur and La Glu, made several months after Guy has left Gaumont, have both at times been ascribed on DVD to Guy), so this is a very bad reason for making a change and in this case that change is almost certainly incorrect.
Alice Guy, in charge of production at Gaumont in 1906, was hugely overworked. By 1906 she had completed her masterpiece La Vie de Christ but her time was very largely taken up by the production of phonoscenes, sound films mainly based on operas and popular songs, which were for Gaumont a priority at this time. His engineers had developed a highly efficient sysem of semi-automated synchronisation and of amplification and Gaumont, believing - twenty years two early - that this was the future of film, intended to launch the "talkies" in a big way in 1907 in the hope (alas illusory) of breaking into the US market. During the year over a hundred such phonoscenes were made and, alhough Guy was not responsible for the sound recording, the playback performances, which required the actors to mime to the recordings, were tricky to make and must have been exceedingly time-consuming.
For the comic shorts, therefore, she relied increasingly heavily on her three new assistants, Louis Feuillade, who was the accredited scriptwriter, Étiene Arnaud and Roméo Bosetti. Although Guy was undoubtedly still in overall control, the content and style of the films increasingly represents the work of these three - particularly a strong emphasis on low comedy, on fashionable chase films (as in this film) and rather dubious toilet humour. There is no sign that Guy objected to any of this. She was no prude and seems rather to have enjoyed the laddish environment in which she now found herself.. She thought well of her assistants, especially Feuillade whom she would eventually designate as her successor when she left for the US.
The "rejuvenated" Guy fell in love with the younger Herbert Blaché in late 1906, the two were engaged on Christams Day and married on March 4th after which Guy immediately resigned her post in order to accompany Blaché who had been given the job of marketing the phonoscenes in the US.
The director of this film is not in fact known. The date can be inferred from the Gaumont catalogue which is chronological. It was made in about March 1907 (two films that immediately precede it in the cataogue are knwn to have been performed in London in April and one of them, Arnaud's La Ceinture Electrqieu, seems definitely to have been made after Guy's departure) and it is therefore most unlikely to have been made by Guy.
The probability then is that this film, written by Feuillade, would have been directed by one of the assistants - Feuillade himself, Arnaud or Bosetti. If my life depended on choosing one of them, I would say, on stylistic grounds, that it was probably directed by Bosetti.